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image
Caroline Mauxion, Une enveloppe sans contours, 2017. Impression sur verre trempé, 76, 2 x 152, 4 cm. | Print on toughened glass, 76, 2 x 152, 4 cm. Avec l'aimable permission de l'artiste | Courtesy of the artist

Caroline Mauxion
From November 11th 2017 to December 16th 2017

“There is the puddle,’ said Rhoda, ‘and I cannot cross it. I hear the rush of the great grindstone within an inch of my head. Its wind roars in my face. All palpable forms of life have failed me. Unless I can stretch and touch something hard, I shall be blown down the eternal corridors for ever. What, then, can I touch? What brick, what stone? and so draw myself across the enormous gulf into my body safely?”

Virginia Woolf, The Waves

Rather than engaging in the practice of the photographic image, Caroline Mauxion explains that her work consists of practising the photographic image. The nuance is critical, as it reassociates photography with the idea of action and it emphasizes both the performativity of the image and its materiality, for which notions of contact and movement are essential. Mauxion’s images are thus to be seen as testing the limits of the visible and invisible, of transparency and opacity, of abstraction and figuration, of shadow and light.

The work presented at OPTICA is inspired by the originating conditions of photography. Through photographic procedures, which imprint intensities of light onto photosensitive surfaces, distinct materials become closely related. The sheet of cracked glass and the water puddle are imagined geographies, constant returns to writings of Virginia Woolf. The description of spaces between the tangible and the intangible in Woolf’s novels and short stories serve as a guide in the artist’s creative process. The presented works become reinterpretations of recurring motifs in Woolfian imagery, endeavouring to make visible that which is hidden in the “cotton wool of daily life.”

If Mauxion practises photography, she also installs it. The glass plate, become photographic support, depends on its installation in the space to reveal the image; the white page on which the photograph would normally be printed is replaced by the white wall. Some images become nearly invisible. Many can be read in different ways. They invite physical movement. All are created upon contact.

Author: Daniel Fiset

Daniel Fiset is an art historian and educator. He lives and works in Montreal.

Public Discussion between Caroline Mauxion and Daniel Fiset at OPTICA, November 22, 2017 from 6:30 PM to 8 PM.

PRESS RELEASE (pdf)

PRESS REVIEW

DELGADO, Jérôme. «Invisibles corruptions, Teja Gavankar séduit avec des petits dérangements de l’ordre établi», Le Devoir, December 2, 2017.

DELGADO, Jérôme. «Un automne sous le signe éclaté de Caroline Mauxion», Le Devoir, September 5, 2017.



Originally from France, Caroline Mauxion has been living in Montreal since 2010. She is the recipient of the Sylvie et Simon Blais Foundation’s Award for Emerging Visual Artists (2015). Her work has been shown in solo exhibitions in Montreal, at Galerie Les Territoires (2014) and Galerie Simon Blais (2015), and in Rimouski, at Centre d’artistes Caravansérail (2016). She will be undertaking a residency in Banff in 2018, under the auspices of the CALQ’s residency program