from old french reflecter 'to throw back', meaning 'to turn one's thoughts upon'. what is projected is reflected upon & vice versa. if adm develops a body of work with the purpose of life as its core, find here the backbone of her research, its essence & DNA.
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extracts
Extracts by James Putnam
 
Freud identified one of the most powerful uncanny scenarios as when we are uncertain whether an object or creature is animate or inanimate – living or dead. The notion of something inert coming to life can be disquieting, even scary and contributes to the subversion of the familiar. Adeline de Monseignat’s series of sculptures comprising fur encased within glass spheres provoke this uncanny feeling in the viewer. She refers to this type of sculpture as a ‘Hairy Eyeball’ abbreviated as HEB. The compression of the fur against the surface of the glass sphere creates a plethora of strange creases that generate a feeling of claustrophobia hovering between the repellent and attractive. The tactile quality of the fur also elicits in the spectator an unfulfilled desire to touch it […] that remains potential rather actual thus setting up a curious tension where the viewer is invited to ‘touch’ with their eyes instead of with their hands. They also experience these extraordinary and wondrous liquid-like abstract patterns as a result of the fur pressed tightly behind glass. […] By combining familiar elements in unfamiliar and contradictory scenarios and environments, de Monseignat [is] able to unlock our access to the weird and unnatural through the notion of The Uncanny - the familiar-yet-strange. [Her] works are liminal, hovering on the border between our conscious and unconscious minds, unsettling yet not directly threatening because [she] incorporate[s] characteristics that can be found in the familiar and seemingly harmless. While [her] works are not intended to have any concrete meanings they possess a mesmerizing quality rooted in psychological states and when confronting these uncanny works we can experience a sensorial displacement that is both playful and profound.
 
Extracted from:
The Uncanny Exhibition Catalogue, Adeline de Monseignat and Berndnaut Smilde, Ronchini Gallery, 2012
 
 
Extracts by Jo Applin
 
Only half-visible, the lower part of each glass sphere is smothered underneath the fabric, as though tucked up in bed. Every sphere has been lined with the artist’s patchwork layers of reclaimed animal fur. The fur presses up against the smooth surface of the glass, where it flattens out in waves and licks across the glass interior in a lush sheen. The balls look like a sea of bulbous bodies, or perhaps giant eggs, or crowning alien heads (the artist has described her idea of home as a kind of ‘incubator’). The glass spheres, nesting like fragile baby birds, look both familiar, for we know what glass and fur look like, and yet at the same time different to anything we have ever seen before. […] They are at once ravishingly beautiful and strangely abject and unsettling forms. We might think of these fur-lined objects as materialised secrets, or as instances of what, in another context, the psychoanalyst Christopher Bollas has called the ‘unthought known’, which stands for that which the subject both knows on some level but at the same time does not know. It is something, an object mental or physical, a thought, a memory, an encounter, which the subject cannot successfully put into words or articulate.[…] Fetching and carrying her belongings to and from her childhood home, de Monseignat reworks the physical materials and psychological memories of home into new configurations. Through a process of artistic translation, the bedding and awnings are made to stand for something once known and familiar, now remade anew. Home, we might say, is the materialisation of de Monseignat’s baggage. It is an interior landscape of half-remembered and abstracted fabrics and smells, of touch and sight. […] we cautiously enter Home, uncertain of what might happen, but certain that something will happen, or has already. The secret of the work—like the half-buried glass orbs—is passed from the artist to us, trapped for a time in her childhood memory of a home that, for a moment, becomes ours too.
 
Extracted from:
Home Exhibition Catalogue, Adeline de Monseignat, Ronchini Gallery, 2014