Adeline de Monseignat
Echelle Charnelle, 2018, Negro Monterrey Marble and Steel, 245 x 42 x 12cm
In the Flesh III, 2016, Marble (Bianco Cevedale), 40cm diameter
Adeline de Monseignat (b.1987) is a sculptor who lives and works between London and Mexico City. Her work translates an interest in psychology, mythology, urban legends, anthropology and other literary sources which refer to birth, fertility, anthropomorphism and the uncanny. Through the process of sculpting the artist aims to provide physicality and functionality to such intangible concepts. Adeline works primarily with organic, mineral, sensual, strong yet vulnerable materials such as fur, glass, textiles, steel and marble that aim to echo the human body’s qualities, vulnerabilities and potentialities.
Adeline holds a BA in Language and Culture from UCL (2009), and has studied art at the Slade School of Fine Art (2010) and the City & Guilds of London Art School (2011) where she received her MA in Fine Art.
She is the recipient of numerous awards including Royal Society of Sculptors Bursary Awards (2013), Fack West London Art Prize (2013), The Catlin Art Prize (Visitor's Vote Prize Winner, 2012) and Arcadia Missa Gallery Prize (2011).
Residencies include Fibra (Columbia 2018), Stone Carving Residency (Mexico 2017), The Beekeepers Residency (Portugal 2015), and Villa Lena (Tuscany 2014).
Selected Solo Shows
"O", Ronchini Gallery, London, UK (2018)
L'Attesa, Exchiesetta, Polignano a Mare, Italy (2017)
Home, Ronchini, London (2014)
Selected Group Shows
Synergia, Galeria de Arte Méxicano, Mexico City (2018)
Contemporary Sculpture Fulmer, UK (2017)
Force of Nature, Mile End Art Pavilion, London (2017)
House of Penelope, Gallery 46, London (2017)
UK/raine, Saatchi Gallery, London (2015)
Whispers, Ronchini, London (2015),
Time to Hit the Road, Leila Heller, New York (2014)
Articulate, Victoria Miro (2013)
The London Project, Yorkshire Sculpture Park (2013)
The Uncanny, Ronchini, London (2013)
Dead Inside, Bleecker St Arts Club, New York (2013)
The Future Can Wait, Victoria House, London (2013)
The Threadneedle Prize, the Mall Galleries, London (2012)
In The Flesh, Freud Museum, London (2016)
Exeter Phoenix (2016)
Chimney Art Festival, New York (2017)
Penelope s Wheel II, 2017, 220 x 172 x 172cm, Powder coated steel, glass, LEDs and cables
Time At Hogchester Arts
Residency period - June 2019
My residency at Hogchester came at a perfect time where I needed to get away from the fast pace of the city to regain focus on my practice. The blissful peace and quiet Hogchester offered enabled me to submerge myself in thought, connect with nature and find the appropriate mindset to experiment. Thanks to Chantal’s help and knowledge, Pablo and I individually experimented on using a sandcasting device to cast small sculptural shapes out of pewter. This sparked off new ideas which I am still developing. Having also spent a lot of time on the Jurassic coast, gathering rocks and found objects of all shapes, nature and sizes, I have kept a record of them by painting their portraits. These watercolours, I aimed to paint one daily, are simple studies that have enabled me to connect with the shapes of these items, which triggered embryonic ideas for future sculptures.
Living on the farm enabled a genuine opportunity to re-centre. We stayed one week in the cottage, which was a real treat, but I must admit that we particularly enjoyed our second week, sleeping in the yurt. The woodburner kept us warm all night and the absence of electricity made it our main source of light at night – very romantic – and meant we were in bed early and awake early too. All these factors made for a better and more productive time in the studio. Chantal was an outstanding host, generous with her time, space and knowledge. I couldn’t possibly recommend this residency more for any artist that really want to focus, experiment and make work (small scale) in a context that lends itself perfectly to that.