Extract by Curator James Putnam
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 meaning 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
Extract by Art Historian Jo Applin
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