veronique (nico) d’entremont is a transdisciplinary artist whose sculptures, video installations, ritual/performances, and inter-species collaborations explore poetic entanglements across the veil of life and death. Their work troubles preconceived notions of queerness, disability, and “otherness,” while complicating perceptions of the institutions that dominate our lives. Through traditional and experiential research, they seek counter-narratives, addressing systemic issues through rigorous examination of their personal narrative.
In their studio, they adapt arcane techniques from syncretic traditions such as Sicilian Folk Magic, blurring the edges of academic research, studio art, and spirituality. Their performances and social interventions engage viewers as participants, seeking healing and collective liberation from personal and community trauma. In d’entremont’s 2019 film, If Every Mother Were a Saint, Heaven Would Be Full By Now, Part 1., the artist proposes that their mother is a contemporary Catholic folk saint, whose suicide/martyrdom produced a miracle in which the artist’s life was spared.
D’entremont’s work has been generously supported through commissions, grants, and fellowships, including Institute of Contemporary Art Los Angeles, Yaddo, BANFF, The Joan Mitchell Center, ACRE, SPACES Cleveland, The Berwick Research Institute, and Boston Center for the Arts studio residency. Their work has been supported by funding from a 2012 Joan Mitchell Fellowship, 2016 Social Practice Art award, and a 2024 Collective Futures Fund grant.
While at MacDowell, d’entremont developed The Body is a Reliquary, a multidisciplinary video and sculpture installation exploring queer collective care, individual healing, and the unexpected emergence of embodied trauma during gender transition.
Portrait by tarik bartel
