Project Room #11
None of these artists can be called a sculptress; each one uses the artistic medium within a multidisciplinary practice, expanding the definition of sculpture itself. Not treating it as a result but as a process, sculpture becomes a tool for building spatial environments of various kinds. The 2019 Project Rooms deal with issues of contemporary life and socio-cultural phenomena such as misogyny, apocalypse and national identity.
The work of Caroline Mesquita (Brest, 1989) takes the form of theatrical sculptural installations that staged macabre events which often also involves the artist. The set becomes a playful mise en scène where human-sized brass sculptures seem to interact with each other as well as in his videos. Her works combine the heaviness of metallurgical materials with the delicate palette of colors used to decorate them. The artist is able to subvert the notion of weight, making his sculptures appear lighter than the stories they perform.
For her Project Room, Mesquita reworks a biblical event, that of Noah's Ark. Through the recomposition of the large boat built to escape the universal flood and preserve the various animal species, the work reflects on the recent climatic changes, both meteorological and political-cultural. The artist examines, in a metaphorical key, the perennial sense of crisis now intrinsic to our everyday life.