ART

MONICA FRANCISCUS ADVANCES TO DEVASTATION

By Marjorie Olds

Having grown up, gone to school, and worked in several countries, Monica Franciscus was exposed to various cultures, and art, architecture, and design were always pointed out. In anticipation of an exhibit of her work at e Cherry Gallery, opening September 9, she sat down with me to discuss her unique approach to art and where it came from.

“As a child my mother would whisk us into museums, galleries, and cathedrals, introducing us to unique things, such as Paris’ famous stained-glass windows and dazzling blue glass at Saints-Chapelle. She opened our eyes to creations, and details in art and design in ways that made me want to learn more. Our uncle,” Franciscus added, “was an architect, and he pointed out the importance of the mechanism of things—even in his door handle, or the Peugeot pepper mill on the table (designed by the French car company).” She points to this combined childhood encouragement as the source for her belief that “Aesthetics and mechanical performance in any creation are important and share equal value.”

As an example of this belief in equal value, Franciscus says that “ e car parts I utilize in my sculptures are highly designed, meticulously engineered, aerodynamic parts, painted in vibrant metallic, re ective colors. Repurposing the car bumpers that I nd in dumpsters means that the pieces dictate what they will become: a composition where the formal elements (color and form) and aesthetics are considered.”

Franciscus says, “My work is about intimacy. I am interested in people’s relationship to this planet and our relationships with each other. e concept behind these pieces is that science created incredibly advanced thing, such as cars, but these vehicles are the biggest contributors to greenhouse gasses. Corporations collaborate with politicians who set rules. Because of ubiquitous robots in factories unemployment is on the rise. Our system needs an overhaul!”

Pointing to one of her works, Franciscus notes, “ is red and grey metallic sculpture has shiny aerodynamic lines that used to be beside the car wheels, where the rounded form is. Plastic bumpers are the rst to absorb impact and protect people. is and other technology surround us and provide conveniences on which we rely, yet ironically now threaten our existence.”

“We are at the end of the Industrial Age,” Franciscus believes. “Too much is produced, imported and sold, yet all this has not brought us peace or equality. e gap between rich and poor is increasing—and is intimately intertwined with inequality, poverty, and unemployment. In 2022, in the U.S. immense poverty exists in the midst of great wealth.” “Our endangered, and damaged environment manifests its destruction in what has become habitual heatwaves, severe storms, drought, oods, and res around the globe,” she suggests, explaining that she wanted to portray the dichotomy between progress and decline. “I chose to use discarded car parts to symbolize the advances in science and the devastation to our air, water, soil and oceans. Science/technology got us here. It can lead us to a solution.”

Sculpture made from repurposed car parts, 2022 (Photo: Monica Franciscus) Sculpture made with repurposed plastic car parts, 2020 (Photo: Monica Franciscus)

Opening September 9 at e Cherry Gallery, 130 Cherry Street, www.thecherry. org; Open 5 to 8 p.m. Fridays and 3 to 6 p.m. Saturdays and Sundays. Arts & Entertainment