Monique Martin – installations across Canada


Installation Context is Everything, Estevan Museum of Art Gallery and Museum,
curated by Amber Anderson, photo credit Len Thomas

Context is Everything

Estevan Art Gallery and Museum (accessible)
November 20, 2020 – January 15, 2021
Estevan, Saskatchewan

Humboldt Museum and Art Gallery (accessible)
April 1 – May 22, 2021
Humboldt, SK

Crafted Vancouver (accessible)
May 1 – May 25, 2021
Vancouver, BC

Seymour Art Gallery (accessible)
April 24 – June 5, 2021
North Vancouver, BC

Winter in Saskatchewan can be considered a bleak season. It equates to shorter days, increasingly colder weather and a barren landscape. However, perspective is everything.

The dandelion, like winter, is an often negatively viewed phenomenon. Viewed by many as an invasive weed, this plant has medicinal properties, is edible, can be turned into wine and endures the harshest of environmental conditions. In the spring the dandelion’s signature bloom marks a transition in seasons. Regardless of one’s opinion on the plant, its ability to survive the bleakest of conditions is a marvel, much to the chagrin of its critics. As we find ourselves in the midst of a global pandemic, Monique Martin’s installation of over 1,500 hand made paper dandelions transform the gallery into a space of hopefulness and resiliency.

Installed directly on the gallery floor in clusters mimicking their natural growth habit, Context is Everything provides viewers with the ability to manoeuvre the space, mimicking a pastoral stroll outdoors. As the title implies, the meaning of the work shifts pending on installation, location, and, of course, one’s perspective on this plant. The scrupulous detail in each work, along with lighting, resembling dappled sunlight, complete the trompe l’oeil illusion of the installation.

Each single work involves several intricate processes from hand-cutting and precise folding to multiple applications of lino-cut and screen printmaking techniques. Pushing the boundaries of what is considered traditional printmaking, Martin manifests and imbues in the works a sense of tranquility, jubilation and, perhaps, aplomb. Considered a nuisance to some, obnoxious to others, Martin is able to transform the dandelion into her interpretation. In doing so, she gently urges viewers to consider their perspectives. If one is able to shift their views on something as simple as a plant, what else could be manifested if ideas, people, places, religions were considered in a decidedly more nuanced way.

In this chaotic period, art galleries, arguably, more than ever have become much needed sites of introspection and calm. Polarizing narratives have been dominant in 2020. Perhaps it is apropos that dandelions, symbolic of emotional healing and strength, grace the floors of our gallery currently. Afterall, we are all in this together. Curator – Amber Anderson

Previous to the Estevan Installation the series was exhibited in Edmonton with The Worksfest in downtown Edmonton in 6 locations.

Critical Pieces

Alley of Light (accessible)
November 3, 2020 – March 1, 2021
Edmonton, AB

Humans use disparaging and derogatory self-talk and negative internal conversation at times. We are often hypercritical and yield to standards that are constantly presented to us through perpetually changing media and advertising. We are comprised of all the perceived negative and positive aspects that are part of our whole self. Each person is essential, valued and are a critical part in other people’s lives.

The dandelion is a silent protest that is heard worldwide on sidewalks, in parks and in gardens. It is a symbol for not accepting a monoculture but being open to differences and open to changing the stereotypes imposed on us by society.

Dandelion pieces, rather than the whole, are used as a symbol of the critical pieces of ourselves.

The original linocuts for these panels were 72 x 24”, 182 x 61 cm. Each one was handprinted on vellum and when installed one layer could be seen through the other. These same linocuts were also made into handwoven rugs in Nepal.


Installation Continuous, CAVA – Centre d’arts visuels de l’Alberta, 2020, ink on mulberry paper, 48 panels, 108 x 27.5”, 270 x 70cm, 2013-15, photo credit Len Thomas


Craft Council of Newfoundland Labrador (accessible)
January 15 – February 19, 2021
St. John’s, Newfoundland

Nova Scotia Centre for Craft and Design
Mary E. Black Gallery (accessible)
March 18 – May 9, 2021
Halifax, Nova Scotia

Continuous is a multi-sensory art installation augmented by the scent of beeswax and the sound of buzzing bees that comments on the steady decline in honeybee populations and the devastating effects of their collapsed colonies. Through ceiling-suspended panels and a participatory hive wall, the artist creates an interactive experience where visitors are immersed in a “live” beehive.

The entire exhibition was created using a 5-12 block linocut print method on 1200 square feet of mulberry paper. There are around 35 000 hexagons and approximately 3000 bees on 48 printed panels 108” x 27.5”, 270 cm x 70cm.


Now and Forever, Ink and used motor oil on paper, 18 x 12 x 6”, 2017

As Long as The River Flows

Mann Art Gallery (accessible)
November 24, 2020 – January 16, 2021
Prince Albert, SK

Curated by Jesse Campbell, Leah Garven and Marcus Miller

This piece is five interlocked mobius band (the never-ending band) that symbolize the never-ending impact of an oil spill as the contaminants enter the water cycle and ecosystems. Once oil enters the environment it enters the cycle. I used motor oil and ink to print the pieces. The oil keeps changing the paper, eating away at its integrity.

2020 Carmichael Canadian Landscape Exhibition: Tradition Transformed

Orillia Museum of Art & History (accessible)
October 3, 2020 – January 17, 2021
Orillia, ON

The Carmichael Canadian Landscape Exhibition: Tradition Transformed was created in recognition of Group of Seven member, Franklin Carmichael, who was born in Orillia.

Print Living Skies included in this group exhibition.

About Monique
Monique Martin is an internationally recognized multi-disciplinary artist from Saskatoon. She has exhibited her artwork in more than 250 significant solo, invited and juried group exhibitions in eleven countries. Renowned international curators have selected her artwork for various exhibitions worldwide. Her works are held in 45 public and numerous private collections in twelve different countries. Some of her work from “Context is Everything” was recently added to the Royal Alberta Museum collection.
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