Monica Zeringue

Moonlight Bends Over the Black Silence

2013

medium: graphite and beads on linen Monica Zeringue received her MFA from the University of New Orleans in 2006, and her BA in 1993. In 1999 she was awarded the Prix de l'Acadamie...

medium: acrylic, hand-sewn gold-plated beads and wallpaper on linen Monica Zeringue received her MFA from the University of New Orleans in 2006, and her BA in 1993. In 1999 she wa...

medium: graphite, embroidered thread and beads on linen Monica Zeringue received her MFA from the University of New Orleans in 2006, and her BA in 1993. In 1999 she was awarded th...

medium: graphite and beads on linen Monica Zeringue received her MFA from the University of New Orleans in 2006, and her BA in 1993. In 1999 she was awarded the Prix de l'Acadamie...

"By using references to navigational coastal profiling and by borrowing and subverting compositional structures of the 19th century American landscape painters I examine how modern l...

Jessica Houston’s most recent works look north. What is north? Where is it? Is it a fixed place, or something else? Her second solo show at Art Mûr brings together paintings, a sound sculpture, and chine collé prints, all of which reveal a fragile, fluid, and often fractured, north. An iron ore stone becomes a speaker, playing recordings of interviews and singing, and expanding the physical presence of the stone. The exaggerated textures of the paintings give them, too, a sculptural and documentary feel. They record how actions—breaking and piercing, pushing and pulling—disrupt and transform the paintings’ surfaces. By resembling patterns one finds in the wild—scratches across the surface of a rock, uneven waves that form on melting snow—they unhinge any clear distinction between what is natural and what is made. Made with a printmaking technique that binds together distinct papers, the chine collé prints begin with photographs Houston took of Baffin Island. She then combines the images with coloured paper, creating traces of the process of extracting and replacing parts of a scene, and an equal awareness of both what is present and absent. Some are composed of double circles, like looking through binoculars. In Business As Usual, a decaying interior—peeling wallpaper, a rusted stove—is juxtaposed with the soft glow of a yellow circle. This continues Houston’s ongoing use of colour to question the particulars of perception. Heritage of All, White with Greed and Iron, and The Spaces we Breath, Houston’s titles read like lines of a haiku. Composed as prose, they are also confrontational, mapping out the cultural and environmental impacts of the extraction of resources in the Arctic. We witness scenes of violent decay, and yet simply carry on, like Business As Usual. In What Nations Come and Go a pale purple oval nearly fills the frame, revealing only in the very far right a simple cabin in front of a rocky incline. A similar imposing cloud of colour, this time blue, dominates the landscape in Mapped, Claimed, and Evaluated. The north is just as much an idea as it is a place, and is one that looms large in the Canadian imagination. There are few better examples than Glenn Gould...

The Day The Earth Stood Still (TDTESS) collection of drawings, wall artworks and installations focuses on images which captured pivotal events that are etched in memory and subconscious, ie. the Moon...

The Eclipse Series, explores solar and lunar dynamics. Through contrast of forms and the layering of color, the paintings convey the mystery and awe one experiences during the observation of this rare convergence of two heavenly bodies. ARTIST BIO Rebecca Kamen...