Caroline Mesquita is developing a sculptural practice that extends to the video medium, offering multimedia experiments with a strong narrative load. Her work explores the vitality and complexity of matter (artificial or human) with notions of religion, incarnation, transformation, sensuality and sociability. With her technique of assiduous intervention on the material, Mesquita manipulates metal like a form of painting in constant transition. These material transformations provide a framework for narration about human experience and relationships between individuals.
It is in her stop-motion videos, the second part of Mesquita’s production, that the sheets of metal that have become volumes are, for some, set in motion. With Machine Room, Mesquita deals with several types of metamorphoses: that of the material which becomes a figure and comes to life with the hands of the artist sculptor, then which comes alive with the hands of the artist-videographer, but also those of the world which surrounds us, making reference to the accelerating social transformations, in particular with regard to relations between men and their creations. Some indeed see in it the construction of worlds where inter-species relationships are possible, and where the mechanisms of opposition and hierarchical classifications are ineffective.
Caroline Mesquita (born in 1989 in Brest, France) lives and works In Paris, where she graduated from Ecole Nationale des Beaux-Arts in 2013. She received the Ricard Price in 2017. Solo exhibitions include The Ballad, Fondation Ricard, Paris in 2017 (curated by Martha Kirzenbaum); Pink everywhere, Kunstverein Langenhagen, Germany; Cream Sacr/f/ce, Jupiter Artland, Edinburgh, Scotland, 2016; Camping, Union Pacific, London, 2015 etc.
Caroline Mesquita's work was part of Videodrome: