Sculpture, Michelle Lopez

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.

Variable sizes. Tempered architectural glass, ultraviolet light, tin, silver nitrate, varnish, wood. Relying on intuition to guide the body in large gestures, I direct liquid silver nitrate with a pressured air wand over architectural glass, capturing the image of a cloud in mid-explosion: the dynamic residue of violence in the immediate aftermath of a moment of destruction.

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.

Pure lead, automotive paint, steel, gold leaf.

10’ x 2’ x 2.5’ Powder-coated aluminum

60″ x 16″ x 4″ maple plywood, glue, and skateboard grip tape.

19″ x 19″ x 17″ Resin, soot.

The Aldrich Museum of Contemporary Art, Ridgefield, CT Dimensions Variable Lead, stainless steel, copper

24″ x 16″ x 6″ bronze, 10K white Monarch gold leaf Consumer action figures have become a kind of present-day religious iconography. In reinterpreting a castrated version of a beloved character from Star Wars, I’m interested in derailing iconography and hero mythology in popular culture in general.

60″ x 16″ x 4″ maple plywood, glue, and skateboard grip tape. I soaked and then scored rigid plywood, enabling me to bend it in unusual ways: imitating wet paper hung up to dry and achieving a flaccid quality for a normally stiff material.

10’ x 2’ x 2.5’ Powder-coated aluminum

Pure lead, automotive paint, steel, gold leaf.

10’ x 2’ x 2.5’ Powder-coated aluminum

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 Aldrich Museum of Contemporary Art, Ridgefield, CT Dimensions Variable Lead, stainless steel, copper

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.

Curated by Jeffrey Uslip “A Chromatic Loss,” 2014 Bortolami, New York Installation view Group show including Tom Burr and Wyatt Kahn.

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.

TOTE- Construction bag and steel YOUR BOARD- 60″ x 16″ x 4″ maple plywood, glue, and skateboard grip tape.

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.

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.

Prosthetic plastic, prosthetic metal, Matthew C-stands, plastic wrapping Shown at Artist Space, Nina in Position, curated by Jeffrey Uslip.

Mirrored stainless steel, powder-coated steel, rivets, steel that was fabricated and assembled with a team of riveters on-site.

(Size: 24 x 16 x 6 inches) bronze, 10K white Monarch gold leaf Consumer action figures have become a kind of present-day religious iconography. In reinterpreting a castrated version of a beloved character from Star Wars, I’m interested in derailing iconography and hero mythology in popular culture in general.

Posy, Los Angeles Contemporary Exhibitions

24 x 16 x 6 inches bronze, 10K white Monarch gold leaf

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.

96” x 38” x 27 Pure Lead, steel. “Angels, Flags, Bangs”,curated by Amy Smith-Stewart, The Aldrich Contemporary Museum of Art.

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.

Leather, glue, Steel