Original Image by Noah Freidman-Rudosky for the New York Times | Photo Composite

Lithium Salt Flats, Salar de Uyuni, Bolivia

Saturday, December 8, 2018


GENESES; christine corday; san francisco art; public art; cesar rubio photography; som architects; moscone; art

Installation of GENESES. 
City of San Francisco Commission. Howard Street, Moscone North Plaza. 

Project by Artist Christine Corday with San Francisco Arts Commission Project Manager Marcus Davies, SOM Architects, Tectonic Engineering, Webcor, Atthowe, Claude Engle Light Design and Project Fabricator: KC Fabrications. 

Studio Image: @2018 Corday Studio
Installation Image Credit: © 2018 C├ęsar Rubio Photography

Tuesday, December 5, 2017

the object has no priviledged view

spacewalker;43f 14_7p;christinecorday

spacewalker;43f 14_7p;christine corday

christine corday; spacewalker

Corday  +2000F 28571p, 2017. Elemental Metal. 6 x 5.5 x 15 in. / 15.2 x 13.9 x 29.5 cm;  +2500F 6500000p, 2017. Elemental Metal  20 x 63 x 36 in. / 50.8 x 160 x 91.4 cm;  +2000F 9090p, 2017. Elemental Metal. 6 x 5.5 x 8 in. / 15.2 x 13.9 x 20.3 cm

Friday, August 25, 2017

"it's hard to describe the vitality of darkness" 
charlie duke, apollo 16 astronaut

Saturday, December 10, 2016

Releasing Center

copernicus, galileo, grothendieck

the center of our sensory/intellectual bias has found different positions in the last thousand years. eppur si muove. the practice of re-locating the center of our thought, world, and greater phenomena, enough times eventually releases the comfort of needing center altogether. 

a relative point of view provides a point of thinking. 
but not a place, position, or object more privileged than any other.

this work is interested in the conversation of its measurements

Saturday, July 16, 2016

How Humans Shape Form

kevin frayer_artist_displaced_migrants_immigrants_war_art
Newspaper clipping of Kevin Frayer Image / New York Times 2006
Portion of Destroyed Wall between Egypt and Gaza

human nature is Nature working with one additional force: will

Tuesday, February 2, 2016

First Light

christine corday; noumerals; agglutinate; metal alloy; space; matter
christine corday. NOUMERAL 100 Series

as our universe grows increasingly cold and dark, our telescopes/satellites follow the first light, the first heat, tracing us to the moment all matter arises.
this work also follows heat, a focus on the sensory satellites sending knowledge from the untested edges of our perceptual system, bringing the experience of light, its information and knowing to a dark and silent brain.

as sculptor, it is not simply the material that interests me---
it is the experience within it.

temperature opens this exploration.
tremendous cooling allows ordinary matter to form
and tremendous heat gave its existence

both at unimaginable scales---
and yet the elements within our body carry its scale--
the experience of the supernova, [even twice or more]
the experience of gravity on a scale 100-1000x that of earth
the experience of billions of years that define becoming

the elements within the generation and evolution of our sensory organs have an experience beyond our own body---a particular trait or knowing in common---a shared medium beyond the first light.

Sunday, January 11, 2015

Protoist Series: Selected Forms. Los Angeles County Museum of Art; December 13 2014 - April 5, 2015. Director: Michael Govan. Sponsor: Lannan Foundation

corday; LACMA; michael govan; protoist series; los angeles; christopher powers; lannan foundation
Protoist Series: Selected Forms Photo: © 2015 Museum Associates/LACMA

touch indexically registers memory on the material surface as rust–
an intimate yet shared public surface.

Forms of this Protoist Series began as a painter replacing paint with heat; investigating material states through tremendous melting cuts of great temperature suspending elements of iron, carbon, manganese, copper and silicon in a moment between solid and liquid states as well as between sensory stimulus and definition.

Curators: Franklin Sirmans, Holly Harrison

christine corday, los angeles, corday g, nasa, material states, une, knoun, hydrogen
Protoist Series: Selected Forms Photo:©2015 Museum Associates/LACMA

Sunday, October 12, 2014

christine corday; protoist series; elemental metal; helden; heldan
Christine Corday. HELDAN. Elemental Metal. Photo ©2017 Corday

the work. at the pace of evolution.
a 600 million year sensory architecture in contact with the next
13.8 billion
like hadaen earth some 4 billion years ago with a surface reprocessed by the impacts creating, burying and mixing of material by material, generating great melt.
so continues the iron, carbon, maganese, silicon, copper and trace elements of these Forms to exist for a time in our hands as the buildings we put up and take down, culture sustains what lasts as our shared terrestrial Form.
the work is the relic as well as fragment futures of mankind's best thinking not the laws of nature itself.

the work. the tool of the object.

the work. time is not a concern in the linear or current experiential sense with interests in past as backward, future as forward etc but rather time as concerned with a duration or position of perception, a particular focus of state/states of a material, of an element. 

christine corday; protoist series; heldan; elemental metal
Christine Corday. HELDAN. Elemental Metal. Photo ©2017 Corday

Sunday, August 3, 2014

playing a composer's piano.
the schoolboy's lunch wrapped in bach manuscripts.
invention of the hammerklavier.

Tuesday, July 30, 2013

The Human Scale

Photo Copyright: Leo Chow, SOM

human perception is an automatic dynamic biological and neurological function requiring no consciousness of its 600 million year evolving apparatus to define, edit, summarize, even presume the billions of stimuli your body receives each moment.  

human perception and human scale were two parallel lines that crossed in recent years. human scale has always been of great interest to my work beginning with rothko's canvas, le corbusier's modular man, da vinci's vitruvian man as well as other applications of proportion as golden mean, etc. human scale has been a manner for man to enter into a work completely or proportionately, like some connective tissue or shared breath of mathematical sublimity. as true in Architecture as in Art., human scale was a scale which pulled upon more sensory apparati than just the ocular, prompting fuller sensory awareness, a wholeness of submersion.

however this definition has only gone so far----larger works would automatically engage human scale and yet rothko eventually felt shut out of his own frames. body as measure brings "object"ness higher in the heirarchy for definition instead of perception itself. this unit whether body or object continues a separatist vernacular---furthering a gap felt between perceiver and the percept. the wholeness of submersion is not a scale of size but a scale of awareness---an awareness of the perceptual system that engages not in the totality of what a something is but a human experience of it-----it is the most rudimentary and simple of points and yet immeasurably true, ones degree of awareness of this is one's human scale.

the function of sensory perception is to bring an unknown into definition. attention brought to the moment before definition suspends the unknown––explores it––however minutely, and gives an experience of the human mechanoreceptive, proprioceptive, somatosensory scale. it is impossible and unnecessary to track the immensity of information our system summarizes but the experience of this scale can be brought to the edge of ones finger [as all senses]. human scale is a chosen moment in the awareness of this perceptive function----this is the works of the Protoist Series, as well as with other works of Art and Architecture. 

Monday, December 31, 2012

the life and death of medium

artist noumeral

artist noumeral

Death Mask of Issac Newton. Prepared by Artist John Michael Rijsbrack (1694-1770)
Noumeral Series.101 and Noumeral Series.102, 2012: Artist Christine Corday

on a train ride south to the city, i pondered the death and life mask from an image i was reading in the paper--never thinking on it before--i was moved by the sensate communication the mask gives to a comprehension of the individual's life---i was impacted by what is shared in being human. spending time with newton, schrodinger, beethoven, keats, joyce, and marat 's death masks i was moved by the nature their physical body gave as last impression of their living discourse---aspects of the artist's process in making these life or death masks drew parallels to the existing process of my "noumeral" works--it was curious to me then how the steel records the life, the history of the concrete Form much as the plaster over the subject's face. the plaster records the flesh, contour and eerie depth of soul from a human face; steel records the cement's, rendering a smooth depth of almost silence, like a wax cylinder full with yet with no audible sound of thousands of years of human-applied story, even its first combusted deposits 12 million years ago within the earth.

the strange smooth silent mask of steel upon the cement allows similar contemplation of the plaster's folds and creases over the details of a life uncaptured yet recorded by its flesh, the life and death of a medium.