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8″ x 16′ / 11 min. loop Aluminum flag pole, rope, steel cleat, six channel stereo sound.
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Bass Museum of Art, Miami 8’x 15’x 40′ Mirrored stainless steel, powder-coated steel, rivets, steel that was fabricated and assembled with a team of riveters on-site.
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Installation, Simon Preston Gallery, NYC 12 x 18 x 48 feet lead, steel, hand-twisted steel rope, pulled glass cane, silver, tin, paracord, found street rubble HOUSE OF CARDS installation constructed as an abject, spare scaffolding system on the verge of collapse inspired by a growing unease with the current political climate. The structures lean upon another for support, suspended by paracord and street rubble.
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Originally installed at Halcyon Days, Metrotech Center, NY, Public Art Fund, 2000; then reconfigured and exhibited in 2008, Michelle Lopez: The Violent Bear It Away, Simon Preston Gallery, NY.
Installation, Simon Preston Gallery, NYC 12 x 18 x 48 ft lead, steel, hand-twisted steel rope, pulled glass cane, silver, tin, paracord, found street rubble HOUSE OF CARDS installation constructed as an abject, spare scaffolding system on the verge of collapse inspired by a growing unease with the current political climate. The structures lean upon another for support, suspended by paracord and street rubble.
Pure lead, automotive paint, steel, gold leaf.
Installation, Simon Preston Gallery, NYC 12 x 18 x 48 feet lead, steel, hand-twisted steel rope, pulled glass cane, silver, tin, paracord, found street rubble HOUSE OF CARDS installation constructed as an abject, spare scaffolding system on the verge of collapse inspired by a growing unease with the current political climate. The structures lean upon another for support, suspended by paracord and street rubble.
Installation, Simon Preston Gallery, NYC 12 x 18 x 48 feet lead, steel, hand-twisted steel rope, pulled glass cane, silver, tin, paracord, found street rubble HOUSE OF CARDS installation constructed as an abject, spare scaffolding system on the verge of collapse inspired by a growing unease with the current political climate. The structures lean upon another for support, suspended by paracord and street rubble.
Pure lead, automotive paint, steel, gold leaf.
Pure lead, automotive paint, steel, gold leaf.
96” x 38” x 27 Pure Lead, steel. “Angels, Flags, Bangs”,curated by Amy Smith-Stewart, The Aldrich Contemporary Museum of Art.
Installation of “Michelle Lopez: The Violent Bear It Away”, Simon Preston Gallery, 2009. SELF-PORTRAIT AS SPECIAL MISSION PROJECT/AKIRA REVISITED-(19 x 19 x 17 in) Resin, soot. WOADSONNER (EDIT), 2000-08 STRANGE FRUIT, 2009- Cast Prosthetic Plastic, Dead tree from NY Parks and Recreation Tree Maintenance, Sandbags, Rope.
Installation, Simon Preston Gallery, NYC 12 x 18 x 48 feet lead, steel, hand-twisted steel rope, pulled glass cane, silver, tin, paracord, found street rubble HOUSE OF CARDS installation constructed as an abject, spare scaffolding system on the verge of collapse inspired by a growing unease with the current political climate. The structures lean upon another for support, suspended by paracord and street rubble.
Installation, Simon Preston Gallery, NYC 12 x 18 x 48 feet lead, steel, hand-twisted steel rope, pulled glass cane, silver, tin, paracord, found street rubble HOUSE OF CARDS installation constructed as an abject, spare scaffolding system on the verge of collapse inspired by a growing unease with the current political climate. The structures lean upon another for support, suspended by paracord and street rubble.
Fictitious Pivot Performance: “You Just Fit, You and I”, Carpenter Center for the Arts, Harvard University, curated by Dina Deitsch, collaboraton with composer, Anna Weesner, 2017. [Sound and kinetic installation, Simon Preston Gallery, NYC; ALT (protocinema), Istanbul]
Installation, Simon Preston Gallery, NYC 12 x 18 x 48 feet lead, steel, hand-twisted steel rope, pulled glass cane, silver, tin, paracord, found street rubble HOUSE OF CARDS installation constructed as an abject, spare scaffolding system on the verge of collapse inspired by a growing unease with the current political climate. The structures lean upon another for support, suspended by paracord and street rubble.
Installation, Simon Preston Gallery, NYC 12 x 18 x 48 feet lead, steel, hand-twisted steel rope, pulled glass cane, silver, tin, paracord, found street rubble HOUSE OF CARDS installation constructed as an abject, spare scaffolding system on the verge of collapse inspired by a growing unease with the current political climate. The structures lean upon another for support, suspended by paracord and street rubble.
Vertical Neck” Installation, Simon Preston Gallery, NYC. 2.5 x 2 x 10 feet Front room: Mirrored aluminum, automotive paint, and matte-white aluminum powder-coated paint; rear room: bent plywood. Two are mirrored with a corporate airplane blue interior and the other, matte white with powder-coated black painted interior. The white is intentionally matte to resemble paper.
Installation, Simon Preston Gallery, NYC 12 x 18 x 48 feet lead, steel, hand-twisted steel rope, pulled glass cane, silver, tin, paracord, found street rubble HOUSE OF CARDS installation constructed as an abject, spare scaffolding system on the verge of collapse inspired by a growing unease with the current political climate. The structures lean upon another for support, suspended by paracord and street rubble.
The work was produced in collaboration with The Fondazione Nicola Trussardi, using leather and fur from Trussardi’s workshops. The exhibition had its initial showing at the Fondazione Trussardi in Milan.
CRUX, prosthetic plastic, prosthetic metal, Matthew C-stands, plastic wrapping, 2008 (also shown at Artist Space, Nina in Position, curated by Jeffrey Uslip, 2008), 9 feet tall, dimensions variable.
Installation, Simon Preston Gallery, NYC 12 x 18 x 48 feet lead, steel, hand-twisted steel rope, pulled glass cane, silver, tin, paracord, found street rubble HOUSE OF CARDS installation constructed as an abject, spare scaffolding system on the verge of collapse inspired by a growing unease with the current political climate. The structures lean upon another for support, suspended by paracord and street rubble.
Installation, Simon Preston Gallery, NYC 12 x 18 x 48 feet lead, steel, hand-twisted steel rope, pulled glass cane, silver, tin, paracord, found street rubble HOUSE OF CARDS installation constructed as an abject, spare scaffolding system on the verge of collapse inspired by a growing unease with the current political climate. The structures lean upon another for support, suspended by paracord and street rubble.
Curated by Jeffrey Uslip “A Chromatic Loss,” 2014 Bortolami, New York Installation view Group show including Tom Burr and Wyatt Kahn.
Pure lead, automotive paint, steel, gold leaf.
Mirrored stainless steel, powder-coated steel, rivets, steel that was fabricated and assembled with a team of riveters on-site.
Installation of “Strange Fruit”, Cast Prosthetic Plastic, Dead tree from NY Parks and Recreation Tree Maintenance, Sandbags, Rope.
OLD BRONX COURTHOUSE, site visit, January, Bronx, New York.
Video/Sound Installation, “When You Cut to the Present The Future Leaks Out,” curated by Regine Basha, No Longer Empty, Old Bronx Courthouse, April-July 2015, Bronx, New York.
24 x 16 x 6 inches bronze, 10K white Monarch gold leaf
40’ x 6’ x 7’ Stainless Steel, Steel, Powder-coated Aluminum, rivets. “Social Animals”, Art Public, curated by Nicholas Baume; “Temporary Contemporary”, Bass Museum of Art.
Installation, Simon Preston Gallery, NYC 12 x 18 x 48 feet lead, steel, hand-twisted steel rope, pulled glass cane, silver, tin, paracord, found street rubble HOUSE OF CARDS installation constructed as an abject, spare scaffolding system on the verge of collapse inspired by a growing unease with the current political climate. The structures lean upon another for support, suspended by paracord and street rubble.
Installation, Simon Preston Gallery, NYC 12 x 18 x 48 feet lead, steel, hand-twisted steel rope, pulled glass cane, silver, tin, paracord, found street rubble HOUSE OF CARDS installation constructed as an abject, spare scaffolding system on the verge of collapse inspired by a growing unease with the current political climate. The structures lean upon another for support, suspended by paracord and street rubble.
Fictitious Pivot Performance: “You Just Fit, You and I”, Carpenter Center for the Arts, Harvard University, curated by Dina Deitsch, collaboraton with composer, Anna Weesner, 2017. [Sound and kinetic installation, Simon Preston Gallery, NYC; ALT (protocinema), Istanbul]
Vertical Neck” Installation, Simon Preston Gallery, NYC. 2.5 x 2 x 10 feet Front room: Mirrored aluminum, automotive paint, and matte-white aluminum powder-coated paint; rear room: bent plywood. Two are mirrored with a corporate airplane blue interior and the other, matte white with powder-coated black painted interior. The white is intentionally matte to resemble paper.
8″ x 16′ / 11 min. loop Aluminum flag pole, rope, steel cleat, six channel stereo sound.
Installation, Simon Preston Gallery, NYC 12 x 18 x 48 feet lead, steel, hand-twisted steel rope, pulled glass cane, silver, tin, paracord, found street rubble HOUSE OF CARDS installation constructed as an abject, spare scaffolding system on the verge of collapse inspired by a growing unease with the current political climate. The structures lean upon another for support, suspended by paracord and street rubble.