Eric Andrew-Gee has written a splendid portrait of Sabrina Ratté in the Globe and Mail.
Ratté may have officially produced the most beautiful thing to ever exist in the metaverse. Against the grain of a Silicon Valley culture that is busy constructing online universes as sterile as they are profit-driven, Ratté injects an otherwise drab technology with the wild and verdant.
That subversive move – both an argument about the fudged line that divides tech from its human users, and an arresting aesthetic sensibility – is starting to make her an art world star. On top of the Gaîté Lyrique show last year, she had an exhibition at Arsenal Contemporary Art in New York last fall, and will have another one at its sister gallery in Montreal this summer. There have been smaller shows and installations at Tokyo’s wonderfully named UltraSuperNew Gallery and Berlin’s Kunstlerhaus Bethanien, among others, while her dazzling video piece Contre-espace was projected on one of the marble façades of the Montreal Museum of Fine Arts every night last summer. She won a Sobey Art Award in 2020.