Raphaëlle de Groot is a Quebec (Canada) interdisciplinary artist with roots in the visual-arts field. She has been presenting her works in North America, South America, and Europe since 1997. With an interest in human experience, she builds her projects in relation to various contexts and environments, encouraging the participation and collaboration of individuals and communities. Her works, focused on process and developed from various encounters and actions, may include drawing, photography, video, installation, and performance. She holds an MA from the School of Visual and Media Arts at the Université du Québec à Montréal (2007) and has received numerous distinctions, including the Prix Pierre-Ayot in 2006, the Prix Graff in 2011, and the Sobey Art Award in 2012. In 2013, she gave a performance in Venice, produced by the Galerie de l’UQAM and the Conseil des arts et des lettres du Québec, for the opening of the 55th Venice Biennale (curator, Louise Déry).
Raphaëlle de Groot has taught at the University of Lethbridge (Alberta), the Université du Québec à Montréal, and Concordia University (Montreal). Currently, she sits on the board of directors of Centre Turbine (Montreal). She is represented by Galerie Graff in Montreal and Z2O Galleria – Sara Zanin in Rome.
As part of the event LandMarks 2017 produced by Partners in Arts (Toronto), Raphaëlle created Subsistences • Inniun, a multi-part project resulting from encounters with various communities in the county of Minganie during a one year stay in the North Shore region of Quebec (curator, Véronique Leblanc). Co-directed by Maxime Girard and produced by the Boîte Rouge VIF, the medium-length film resulting from this experience was presented at the 36th International Festival of Films on Art in Montreal and Quebec City in 2018 (program by Nicole Gingras). From 2014 to 2016, she worked on the exhibition cycle The Summit Meetings, presented at the Southern Alberta Art Gallery, the Art Gallery of Windsor, and the Musée national des beaux-arts du Québec. The result of a collaboration with art, history, civilization and community museums in Alberta, Ontario, and Quebec, this series marked the end of the project The Burden of Objects, begun in 2009. In 2015, she took part in exhibitions in Ireland (virtual platform), the United States, and Canada, which were innovative with regard to the issue of accessibility and the experience of forms of disabilities linked to art practice and contemporary art (Marking blind ; The Art of the Lived Experiment ; Flesh of the World ; Sweet Gongs Vibrating — curated by Amanda Cachia).