by Felix von Geyer
As the Paris COP 21 climate talks continue into their second week in the political quest for a global climate accord that could rally the world’s governments to prevent the onset of serious climate change, Québec sculptress Sarah Marceau-Tremblay continues her second and final week of her climate change inspired exhibition, ‘La Robe de Sophie’ (Sophie’s Dress).
Indeed, La Robe de Sophie is itself a dialogic intercourse with the public and Marceau-Tremblay dresses up climate change as a collective human, cultural, intellectual and anthropological failure.
There is no coincidence between the idea of Sophie’s Dress and the similarly named philosophical novel Sophie’s World by Norwegian Jostein Gaarder that sought to bring Western philosophy to life for a young girl.
As a sculptural narrative or ‘conte sculpté’, Marceau-Tremblay’s works adorn Montreal’s Galerie Viaduc on Boulevard St Laurent as they depict key pages of the book in narrating the tale of humanity’s demise as a consequence of the inability to accept the reality of its relationship with the environment.
The works signify the breakdown of this relationship in similar fashion to the Stations of the Cross during the Easter Passion that narrate Christ’s journey to Calgary.
The sculptor herself remains faithful to her almost post-Frink style. She contrasts solidity with static stubbornness as the death of elegiac human beauty and movement caused by climate change drags all humanity into an infernal descent. This descent is effectively self-prophesied through the obstinacy of those unwilling to accept that any other economic, social and political path is either possible or necessary; let alone embrace it.