Maggy Hamel-MetsosWhole Wide World

Maggy Hamel-Metsos’s second exhibition at Parc Offsite, Whole Wide World (2022), is as grand as its title suggests. It holds vast and infinite meaning, yet its physical description may be somewhat deceptive. The installation consists of the bowl of a front-facing spoon flush-mounted against the gallery wall, a curved bench placed on the opposite side for viewers to use, and a phone number provided for them to call. A very minimal arrangement, but don’t be fooled, as these three simple components spiral into a multivalent journey of memory, care, and relationality. The stainless-steel spoon serves as a convex mirror that, upon first glimpse, flips viewers’ reflection upside down and draws them into its narratives. Guiding them through this experience is the artist’s write-up, which is presented as a voice message, accessible by calling 1 (888) 332-5576. In the recording, Hamel-Metsos offers morsels of information about the history of the spoon, its many uses, and her process of thinking through these layered meanings with the curator, Eli Kerr. In a way, her calm and reflective tone mirrors the nestling of the spoon. A bond also forms between the artist and the viewer — now listener. With texting and direct messaging being the norm, it is rare to use one’s phone for its original intended use. Such a ritual is often performed only for those we trust and truly care about. Hamel-Metsos and Kerr imbue the entire exhibition with care and intimacy. Parc Offsite, a small office-turned-exhibition-space of only forty square metres, allows for these kinds of considerations to form. Maggy Hamel-MetsosWhole Wide World, exhibition views, Parc Offsite, Montréal, 2022.Photos: courtesy of Parc Offsite, Montréal After sifting through some of the themes that this work could explore, such as “the body, the measure, perception and love,” Hamel-Metsos proposes one particular thought to carry forward: “Why do children almost always draw the sun on the corner of a page?” As we reflect on the spoon and our relationship with it, we cannot escape ideas of childhood. After all, spoons are often our first utensils. This spoon, in particular, once belonged to the artist’s mother. It becomes even more difficult not to reflect on maternal care in this egg-shaped mirror. Of course, this is only a portion of all that this exhibition contains. In her recorded message, Hamel-Metsos explains that she contemplated who would be best to write about the work, but because “ghosts don’t write and children write very badly,” she felt compelled to take on the task. Inadvertently, in showing viewers an upside-down version of themselves and bringing them back to youthful memories of learning to draw, she manages to turn them into both children and ghosts — ones who may find a similarity between writing about this exhibition and attempting to draw the sun. Hanss Lujan Torres, Maggy Hamel-Metsos

Maggy Hamel-Metsos
Whole Wide World

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