Grounding the Invisible
Solo Exhibition
Centre International d’Art et du Paysage - Vassivière Island (France)
Nov 22, 2022 - May 21, 2023
In Grounding the Invisible, a series of modular cast sculptures that evoke cinder blocks are arranged as a construction-in-process. Here, the ubiquity and roughness of the concrete masonry units are transformed through the application of geometric Anishinaabe motifs that form the negative spaces of the blocks. Assembled in various configurations, the blocks create larger geometric structures throughout the room, suggesting a space rife with potential for activation and participation. The creation of architectural or sculptural volumes within space are, for the artist, akin to imposing one’s presence: a taking up of space that affirms the long-denied place of Indigenous peoples within the fabric of society.
Monnet’s installation is inspired partly by the geometry of a traditional Algonquin dreamcatcher. Suspended near an infant’s cradle, the circular form is handwoven with a net or web-like shape that ensnares bad dreams and spirits while allowing good ones to pass through. Here, the flat plane of the dreamcatcher is extrapolated outwards into two pyramids, as if receiving as well as transmitting. Held in tension across the space, the pyramids seem to vibrate and resonate outwards. The resulting pure geometric forms frame and focus our perspective, creating a series of lines that converge around the window, landscape and horizon beyond.
See full text here
Source : Centre International d'Art et du Paysage (CIAPV)
Curator: Alexandra McIntosh
Caroline Monnet is supported for this exhibition by the Conseil des arts et des lettres du Québec.
Solo Exhibition
Centre International d’Art et du Paysage - Vassivière Island (France)
Nov 22, 2022 - May 21, 2023
In Grounding the Invisible, a series of modular cast sculptures that evoke cinder blocks are arranged as a construction-in-process. Here, the ubiquity and roughness of the concrete masonry units are transformed through the application of geometric Anishinaabe motifs that form the negative spaces of the blocks. Assembled in various configurations, the blocks create larger geometric structures throughout the room, suggesting a space rife with potential for activation and participation. The creation of architectural or sculptural volumes within space are, for the artist, akin to imposing one’s presence: a taking up of space that affirms the long-denied place of Indigenous peoples within the fabric of society.
Monnet’s installation is inspired partly by the geometry of a traditional Algonquin dreamcatcher. Suspended near an infant’s cradle, the circular form is handwoven with a net or web-like shape that ensnares bad dreams and spirits while allowing good ones to pass through. Here, the flat plane of the dreamcatcher is extrapolated outwards into two pyramids, as if receiving as well as transmitting. Held in tension across the space, the pyramids seem to vibrate and resonate outwards. The resulting pure geometric forms frame and focus our perspective, creating a series of lines that converge around the window, landscape and horizon beyond.
See full text here
Source : Centre International d'Art et du Paysage (CIAPV)
Curator: Alexandra McIntosh
Caroline Monnet is supported for this exhibition by the Conseil des arts et des lettres du Québec.
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Detail view of Vessel for Knowledge 
Perméance, 2022 Mosquito net, polyane
228”x 51”
Kibwàgawinigan, 2022Hemp ropes
34”x630”x345”
Detail view of Kibwàgawinigan
Heap of Stones, 2022Poured concreted blocks
34”x34”x10” each
Transatlantic, 2018Video 4k
15 minutes