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Drowned Memories (2021)
The Manicouagan Astrombleme is one of the largest meteor craters on the planet. Visible from space, “L’oeil du Québec” forms a distinctive imprint on the map of the territory.
Before the formation of the Manicouagan reservoir, two lakes occupied the former crater depression: Lac Mouchelagane, to the west, and Lac Manicouagan, to the east. The Daniel-Johnson dam, erected in 1969, left a profound mark on the territory and the way of life of the Pessamiulnuat. It took 13 years to complete the filling of the basin and forever drown the memories of a territory and its people.
A remnant of the last glaciation, the old Manicouagan Lake resembled a fjord, with deep basins and a shore made up of high and steep slopes. With the rising waters, the banks of yesteryear found themselves submerged to an average depth of 125 meters below the level of the current reservoir.
The old shorelines are still clearly visible on the echo sounder. The trees are admirably preserved and the images returned by the probe reveal to us ghostly forests, still standing, with the tops of the large black spruce trees cradled by the currents, as they would under the wind.
The images of Mémoires ennoyées (Drowned Memories) are the testimony of a past world, swallowed up, but which refuses to disappear. They are the dormant memories and illusions of the ancients, patiently waiting to be reborn, when the time of men is over.
Bio:
Ludovic Boney is from Wendake (Quebec). After graduating from sculpture school in 2002, she founded Bloc 5, an artistic production workshop, with four other artists. She worked there and carried out her first public art projects on her own as well as in collaboration with multiple artists.
Since 2006, she has worked on large-scale public art projects and regularly presents her work in galleries and artist-run centres. She recently exhibited his work at the McCord Museum in Montreal and TRUCK Contemporary Art in Calgary.
Among her most recent notable achievements in public art; Réaction en chaîne installed à l’École de Technologie Supérieur de Montréal (2019), Les Arches d’entente at the Musée de la Civilisation de Québec (2019), and her imposing Cosmologie sans genèse at the Musée National des Beaux-Arts du Québec (2016).
In 2022, she will install her largest interior work, Théâtralité contextuelle, which will unfold suspended over more than 4 floors at the new HEC in Montreal.
Her works are part of several private collections.
