Blouin Division is pleased to introduce Kwìngwan: The Earth Trembles, an exhibition by Caroline Monnet unfolding throughout the whole gallery.
For Kwìngwan: The Earth Trembles, Caroline Monnet presents a new body of work that approaches gratitude as an act of resistance. In a world shaped by extraction, consumption, and growth at all costs, where forests are treated as resources, water as a commodity, and territories as capital, Monnet proposes a different pace. Slow down. Look. Listen. Pay attention to what connects us and recognize that we are part of the living world.
The works take shape through slow, repetitive gestures: weaving, embroidering, assembling, beginning again. These practices give form to memory and carry forward knowledge, stories, and ways of being in the world. They echo generations who have preserved their languages, cultures, and relationships to the land despite forces that have sought to erase and dispossess them.
To weave is to connect. To repair. To resist.
The works intersect and interlock, tracing relationships between generations, communities, and territory. Repair emerges as an ongoing practice: sustaining relationships, transmitting knowledge, caring for what surrounds us, and creating the conditions for continuity. The exhibition asks a central question: How do we inhabit a world we have been taught to exploit rather than respect?
At the heart of the exhibition is a different understanding of our relationship to the Earth: one based on reciprocity rather than extraction. Water, land, plants, and animals are not simply resources, but essential elements of a living world to which we belong. To acknowledge this relationship is also to recognize what we receive, what we take, and our responsibility to what comes next. The works invite us to reconnect with the land, carry knowledge forward, and imagine a future grounded in reciprocity, care, and continuity. Perhaps gratitude begins with the simplest, and most radical, act: remembering that we are not separate from the world. We are part of it. And it’s looking back at us.
