Mogelonsky is a Canadian artist and graduate of the Master’s of Fine Art program at Central Saint Martin’s College of Art, London, UK (2007). Previously, she studied at Queen’s University in Kingston, Ontario, Canada and achieved her Bachelor’s of Fine Art (Honours) in Fine Art, majoring in sculpture and contemporary art history (2006). She is a recent participant in the Florence Trust Studio Residency Program, London, UK, as well as the Château de la Napoule Art Foundation Residency in Mandelieu- La Napuole, France, which she both completed in 2008. She has worked and exhibited in Canada, the UK, Ireland, Portugal, Spain, France and Switzerland. She currently lives and works Toronto, where she is a member of the Red Head Galley.

Stories, folk-lore, narrative and fairy-tales, especially those where scale is played with and explored, such as Lewis Carroll’s Alice in Wonderland, are an important reference and starting point for her practice as she works and re-works handmade objects on a miniature scale, thereby referencing imaginary, fairy-tale like structures, scenarios and villages. By developing her own form of naïve sculptural language, she crafts environments where the viewer is transported into an imaginary space, outside and beyond the everyday, to become both a participant and observer of a created and invented narrative. These sculptural forms, at once both humorous and sinister, seek to investigate language, story-telling and repetition. With these projects the heroically hand made and time consuming coexist with the fleeting nature of their appearance to point toward their own ultimate obsolescence and irrelevance.

It is in the relationship between narrative, miniature, and almost obsessive making, that a link to the uncanny is revealed, which she uses to tie her practical and theoretical research together. Working primarily with sculptural installations, Mogelonsky's work typically begins by working with materials often given a ‘low-grade’, ‘childlike’, ‘DIY’ or ‘arts and craft’ connotation, such as polymer clays, foam and wire. This ‘need to make’ encompasses one component of her research, running congruent to academic sources. The use of hand made objects is essential to her projects, highlighting the laborious nature of her practice.