Presented as both a continuation of themes presented in World Discovered Under Other Skies and serving as a meditation on Mathieu’s current practice, Dwelling on the Invisible explores the dominant motifs introduced in the exhibition originating at The Power Plant Contemporary Art Gallery in Toronto, Ontario. It examines the present-day political landscape in Haiti while engaging deeper into the artist’s personal journey towards self-understanding.
In response to Mathieu’s ambitious, wide-ranging, and prolific practice, it was imperative for this exhibition to debut new work from the artist’s studio. Much akin to World Discovered Under Other Skies, here, Mathieu seized the opportunity to explore new mediums, including his first public presentation of mosaic investigations and a short film. These works engage with questions of identity, feelings of loss and separation, and broader, politically fraught current events.
As the artist’s first solo institutional presentation in the United States, it holds special significance for Mathieu to consider the notable Haitian population residing near the museum. This context renders the conversation related to immigration and the story of Haiti’s history particularly relevant to MOCA’s surrounding communities. Scholar Jean Casimir’s statement in the book, The Haitians A Decolonial History, resonates deeply: “All immigrants, I would argue, lay out their paths in their new society in relation to the baggage they carry with them, rather than by donning a straightjacket that the new society tailors for them.”[1] This sentiment is echoed throughout many of the works in this exhibition, which are center on Mathieu’s grappling with feelings of displacement and his enduring ties to a homeland in turmoil. It could be argued that the works on view here seem to activate the space in a wholly new way, adding yet another layer to the complexities of the artist’s practice.