Trajet: An Interview with Dean Baldwin and Caroline Monnet

CAROLINE MONNET I INTERVIEW
Trajet: An Interview with Dean Baldwin and Caroline Monnet
C Magazine, by Jaclyn Bruneau and Aamna Muzaffar
Winter 2020

In July 2019, artists Dean Baldwin and Caroline (Coco) Monnet circulated invitations to a “performance-not-performance” at Maker Technical Sculpture Services where the first stage in the fabrication of a new public artwork would be witnessed in intimate company. This collaborative project, Trajet, memorializes the footsteps found on the floor of Lake Ontario in 1908 that evidenced Indigenous habitation dating to 11,000 BP. Having been cemented over and destroyed—a powerful indication of cultural attitudes of the time—only descriptions and a crude rendering remain in the municipal archives of T:karonto/Toronto.

At its simplest, Trajet is the effort of making visible something that had been submerged, both literally and in cultural consciousness. Destined to be installed on the Leslie Spit—a headland off the shoreline comprising materials displaced by the city’s subway construction—the substantial bronze sculpture will facilitate the restoration of memory and the co-creation of future histories. “For Toronto, a city where history is rarely prized and more typically trampled, the Leslie Spit both allegorizes this truth and insists on a preservation,” reads the invitation.

In a twist almost stranger than fiction, shortly after this interview was conducted in October 2019, we were informed that the Toronto and Region Conservation Authority is considering revising the permanent location of the work on Leslie Spit, citing a recent coastal review indicating the rising water levels of Lake Ontario and the interventions needed to avoid inevitable transformational damage to the shoreline.

Full text available in the PDF.

Source: C Magazine