Christine Corday: Works
…Corday aligns her compositions to the scale of the cosmos, somehow always connected to the out-there. She constantly reminds us that we, and the eyes and skin with which we might perceive her sculpture, are made of stardust. There’s no real difference between the materiality of the cosmos and ourselves.
This monograph covers the past twenty years of New York-based artist Christine Corday’s practice. Corday combines her interests in the sciences and fine arts to paint, sculpt, draw and design. Her artistic approach consists of manipulation of matter into different states, producing massive sculptures that viewers are meant to experience through touch, leaving memories on the surface of her work.
…Corday aligns her compositions to the scale of the cosmos, somehow always connected to the out-there. She constantly reminds us that we, and the eyes and skin with which we might perceive her sculpture, are made of stardust. There’s no real difference between the materiality of the cosmos and ourselves.
This monograph covers the past twenty years of New York-based artist Christine Corday’s practice. Corday combines her interests in the sciences and fine arts to paint, sculpt, draw and design. Her artistic approach consists of manipulation of matter into different states, producing massive sculptures that viewers are meant to experience through touch, leaving memories on the surface of her work.
…Corday aligns her compositions to the scale of the cosmos, somehow always connected to the out-there. She constantly reminds us that we, and the eyes and skin with which we might perceive her sculpture, are made of stardust. There’s no real difference between the materiality of the cosmos and ourselves.
This monograph covers the past twenty years of New York-based artist Christine Corday’s practice. Corday combines her interests in the sciences and fine arts to paint, sculpt, draw and design. Her artistic approach consists of manipulation of matter into different states, producing massive sculptures that viewers are meant to experience through touch, leaving memories on the surface of her work.
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Artwork by Christine Corday
Texts by Leah Ollman and Taney RonigerHardcover
10.25 x 12.25 inches
184 pages / 120 images
Trade ISBN: 9781942185512
Signed ISBN: 9781955161183 -
Christine Corday (b. 1970) is an international multidisciplinary artist known for monumental concepts and installations. Recent project 'Sans Titre' culminated in Art as the thirty-sixth nation and final global contributor to the material build of a star on Earth, ITER [Saint-Paul-Lez-Durance, France]; as well as ongoing solo museum exhibitions and public works in civic collections worldwide.
As sculptor, Corday engages a material-based practice in the evolving human-scale of perception and fundamental forces. She works in temperature, pressure and material states of atomic elements in close collaboration with Nobel laureate astrophysicists and EarthShot finalist chemists; National Academy of Engineering-awarded engineers; and a broad range of material sciences, cultural anthropology, chemistry, and phenomenology. The subject and scale of materials are informed from her astrophysics internship at NASA/SETI (1991) as well as classical training at the piano. In the late 90s, Corday devoted full-time to Art and traveled to paint and live in various art historical and cultural contexts, including Tokyo, Japan (1999–2000), Seville, Spain (2000 –2004), and Greenpoint Brooklyn, New York (2005-2008). In Spain, Corday created Foundation Civilization for Art-led multidisciplinary works including Instrument for the Ocean to Play, 2001 (Tidal Energy); Sans Titre, 2019 (Fusion Energy); The Sun Is The Way, 2022 (Agriculture); Project Diagon, 2022 (Carbon Capture and Sequestration); and Project Troposphere, 2022 (New Carbon-Sequestered Materials). Corday's first solo exhibition in the United States was sited at the New York High Line (2008), followed by Director-commissioned solo museum exhibitions at the Los Angeles County Museum of Art (2014) and Contemporary Art Museum St. Louis (2019), and was selected by Architect Michael Arad to create the color and surface for The National September 11 Memorial, Ground Zero (2011).
Corday, was nominated for United States Artist Fellow (2016) with projects awarded by the National Endowment for the Arts (2019); Pollock-Krasner Foundation (2019); Brian Wall Foundation (2019); Robert Lehman Foundation (2019); and Lannan Foundation (2015). Her work was invited to participate in two shows within Venice Architecture Biennale (2021). Corday lives in Hudson Valley, New York with her husband and work partner Christopher Powers and dog Rook.
In art as well as her writing, Corday was also known as Corday G (1999-2006) and was selected for Francis Ford Coppola’s Zoetrope Short Story Prize (2000) as well as awarded Modern Fence Poet finalist (2015).
From 1992–1999, Corday worked in graphic and structural design for advertising companies, such as Wieden+Kennedy (Tokyo), Bartle Bogle Hegarty (UK), and SKUzzio Design (US). During this time, her work was recognized by an Edison Ingenuity Prize (CA), numerous Addys (US) and international packaging awards and patent.
Corday’s public works and solo installations include Sans Titre (2020) a two-pound object installed within a star on earth, Saint-Paul-Lez-Durance, France; GENESES (2019), a massive sculpture of stainless steel and concrete commissioned by the City of San Francisco for Moscone Center; Relative Points (2019), a twelve-piece installation of monumental compressed cylinders, each 10,000 pounds of iron, elemental metal and metalloid grit at the Contemporary Art Museum St. Louis; Protoist Series: Selected Forms (2015) at Los Angeles County Museum of Art; and UNE (2008) at The High Line, New York City. In Spain, Corday formulated a black pigment color later selected by architect Michael Arad as the touch-focused color for the National September 11 Memorial (2011), Ground Zero, which Corday applied by hand through a heated application.