Kayne Griffin Corcoran is pleased to present Scene, Monique Mouton’s first solo exhibition in Los Angeles. The exhibition will include new paintings on paper and wood panels.

Scene features a group work that is saturated in both color and composition. This body of work pushes Mouton’s interest in the marginal areas of the paintings. The artist draws attention to transitional spaces such as that between the paper and the frame by playing her irregular cuts off of the crisp structures that house them. The paintings elaborate softer signals as Mouton makes a case for gradual reception. In one painting a rainbow appears through a wash of a purple hue. Another’s subtly arced perimeter comes into clarity slowly, one edge a strip that has been sliced off then reattached. The artist’s decision-making reveals an impetus to extend the compositions beyond their formal boundaries. This intent is not a kind of metaphor (although it does pose the question: what else is worth our consideration?), it is a real discussion of the paintings themselves. How do the paintings bleed into one another? How do they share information? The architecture of the gallery space, the viewer, the frames, the weather, current events, all are contingencies on the experience of the works. One small change in variable can alter the experience, giving way to the open-endedness of seemingly fixed creations.

The wavering edges of Mouton’s works on panel insinuate architecture in a play similar to the paper and its frame. Cut into elongated shapes with a jigsaw, the paintings rest on the floor. Their placement near the wall causes them to function like visual speed bumps as they interject into the rhythm of the hanging pieces. The colored shapes bring the viewer’s attention to the peripheral space of the gallery and contribute to the rich buildup of the work’s ecology of relations. There is a reverberation that happens between the various gestures, marks, and figurations as they are layered on the ground, the wall, and in memory. In this way Mouton’s paintings exist as accumulations rather than series. With titles like Heat, Walk, and Moon, the artist offers suggestions to a script that is continuously developing. Scene is only a fragment of the story.

Monique Mouton lives and works in New York, NY. She completed her Bachelor of Fine Arts at Emily Carr Institute in Vancouver, British Columbia and her Master of Fine Arts at the Milton Avery Graduate School at Bard College in Annandale-on-Hudson, New York. Mouton has exhibited widely nationally and internationally with exhibitions at Bridget Donahue, New York; Natalia Hug, Cologne; Klemm’s, Berlin; Catriona Jeffries, Vancouver; Galeria Mascota, Mexico City; Fourteen30, Portland; Simon Lee, New York; Gladstone Gallery, New York; Metro Pictures, New York; Wallspace, New York; Cleopatra’s, Brooklyn; and many more.