Sculpture, Michelle Lopez

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

19″ x 19″ x 17″ Resin, soot.

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

Leather, glue, Steel

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.

Pure lead, automotive paint, steel, gold leaf.

Posy, Los Angeles Contemporary Exhibitions

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

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

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.

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

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.

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

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.

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

(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.

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.

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

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

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

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

Pure lead, automotive paint, steel, gold leaf.

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.

Pure lead, automotive paint, steel, gold leaf.

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.

Pure lead, automotive paint, steel, gold leaf.

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.

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.