It had 208 paintings, 28 sculptures, 13 gouaches and the monumental designs for the stained‐glass windows for the chapel of Vence as well as a ceramic wall executed after Matisse's specifications.
He subsequently abandoned colour to work with minimal constructions of stretched white vinyl and then with simple structures made of rope, wood, and mirrors.
Bolduc`s signature as a painter was a main motif articulated in impasto colour drawn directly from the tube on top of a stained background.
[6] Bolduc once said that for him the "vertical member – a figure, a tree, a stamen, a column, a mast, a pylon, a stele, a stack of colours, a line of organizational force, an armature upon which the rest of the painting was wound – began as the hands of a watch, both of them pointing straight upward to midnight".
[10]Bolduc drew inspiration for his painting from different exotic locales and travelled often to attain it, such as his 1968 trip across Europe to Turkey, overland to Nepal, returning home via Uzbekistan and Moscow.
[5] He went to India (at least 15 times), Turkey, Mexico, North Africa, China, the Himalayas, Sri Lanka, Costa Rica, Paris, Spain, Portugal.
Bolduc was also a regular contributor of illustrations for the biannual literary magazine Brick, edited by Michael Ondaatje and his wife, the writer Linda Spalding.
It was called 14 Canadians: a Critic`s Choice, and the exhibition was held at the Hirshhorn Museum in Washington, DC, curated by Andrew Hudson.