Exhibitions

The artist is interested in monumentality as a constantly evolving phenomenon that shapes and is shaped by its environment. In the large exhibition hall, a work unfolds as a set of constructed planes, tiered like a monumental pedestal. In response, in the small room, a presentation device of petrographic archives made from calcite waste is set up.

The artist thanks the Canada Council for the Arts and the City of Quebec for their support of the project, as well as Jonathan Dubuc, Berthier Lessard, Marc-André Dubuc, and William Duchesne for their help and collaboration during the various iterations of the project.

Kuh Del Rosario engages with places she inhabits using materials found, collected and saved from the everyday. This practice of attunement has developed into art-making as a form of grounding ritual. Drawing from her diasporic experience as a hyphenated Canadian, she is interested in different expressions of time, the malleability of history and the factors that influence identity all contribute to the patina in her work.—An unhusked grain of rice fills the whole house, is the English translation of an Akean riddle, Sang uhay nga paeay nakaeuob it baeay. Kuh Del Rosario borrows this term to refer to an idea preserved in its cocooned state unrealized and yet has the power to illuminate the way.