Vue de l'atelier de Caroline Mauxion
Caroline Mauxion, Vue d'atelier, 2021. Crédit photo: ENE / Jean-Sébastien Veilleux photographe.

Caroline Mauxion

Artist / Spring 2021


by Amélie Giguère

Caroline Mauxion composes images and reflects on their material existence, notably by making prints on paper, glass, or plaster. In her recent photographs, she places intimate parts of the body, obviously beloved, in tight, fractured, and superimposed shots, veiling and unveiling part of a hand, a breast, a buttock. Stimulated by new readings, she is transposing her research into space and exploring the potential of sculpture.

In fact, the challenge she set for her spring residency at Est-Nord-Est: was to put down her camera. She had brought some large- and medium-size photographs, which she pinned to the walls of the studio to get the conversation going. But the idea was to leave the beaten path – to engage in the calculated risk of a bit of vertigo, a slight discomfort.

First, she worked with plaster, casting it in plastic sheets that were heated in places, or gently pressing it into balls with her fingers. The resulting cylindrical and rectangular masses and the series of irregular balls, coloured in pale pinks, beiges, and blues, have undeniable aesthetic qualities. Then she mastered metal, much less easy to deal with. Aided by the technician, she cut and folded strips to bear and extend the plaster pieces.

In the studio, the work therefore consisted of creating an encounter between the organic, silken, sensual plaster elements and the fine metallic strips. Mauxion played with masses and lines, seeking a delicate balance and a boundary between abstract composition and the evocation of figures, such as that of detached parts of bodies, which returned here once again. Drawing on her personal experiences, as revealed in her photographs, and on the words, images, and sensations suggested in Monique Wittig’s The Lesbian Body, which she brought with her to the residency, Mauxion continued her increasingly self-assured contemplation of the body and its relationship with the world and with life.


Seeing other than with the eyes: seeing with the body. This is how Caroline Mauxion approaches her work, in a practice that broadens the concept of photography. She seeks to create an embodied relationship with the image based on feminist phenomenology. The lived experience of her body and literary works play major roles in the creation of her pieces.

Mauxion uses glass, plaster, and water-soluble paper to make and unmake the bodies of photographs, which she cuts out, soaks, assembles, and places. In particular, she explores the sculptural potential and the alteration of photographic images through artisanal transfer onto plaster. She uses casting, installation, and video to provide a sensory and physical experience of her images.

Caroline Mauxion has a degree in photography from the École de l’image Gobelins (France) and a master’s degree in visual and media arts from the Université du Québec à Montréal. Recipient in 2015 of the Prix Sylvie et Simon Blais for young artists, she has had several solo exhibitions in Quebec (Galerie B-312, Galerie Simon Blais, Optica, centre d’art contemporain, Galerie de l’UQAM, Caravansérail, Les Territoires). She attended a creation residency at the Banff Centre for the Arts with the support of CALQ, and one of her videos was screened at the Salon Jeune Création 2020 in France. Her works are in the Prêt d’œuvres d’art collection at the Musée national des beaux-arts du Québec and in the collection of the Ville de Laval.