CHANEL
VINET
DEPARTMENT
ARCHITECTURE
My work is an ode to connection, placekeeping,
memory, the spaces in between, and the spatial
qualities they take on. Explorations of reciprocity,
polite curiosity, and protection. I dwell on the
moments we walk by, those we may forget, those
not waiting for our attention. Although at times I
use transparent form and material, their qualities of
non-clarity represent an embrace of certain opacities
in space, barriers in what we see, experience,
and our impressions of place. By deploying a
critical reticence, I hope to express an embrace
of the private and the inward face of the nuanced
spaces and identities in which I find interest both
in my making and in myself. For those who are
not positioned in a similar space, I hope they can
appreciate the blurriness of it all.
My process involves as much of my hand as
possible, often through painstaking repetitive motion
— drawing, polishing, threading, stitching — that
keeps part of the mind busy, allowing thoughts to
slow down, offering time to reflect and digest. An
act of devotion and personal attention. My hand is
slower than my eye. I see each line one at a time,
I spend time with it for as long as I can. Honouring
the unseen, the disregarded, the fleeting, through a
commitment to bringing them before my eyes.
I feel attached.
Four People Sitting Around a Square Table (Memory Room)
2024, Acrylic paint, nylon thread, 65” x 65” x 85”
Although It Has Changed, Maybe It Feels the Same
2024, Pencil on organza, 19” x 47” (three elevation panels), 19” x 19” (ground panel)
Solid Void Study III
2024, Pencil on paper, 18” x 24”