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Claire Corey

Page 1 | Biography

Anomaly 1, 2007. Mixed media on canvas. 54 x 119
Anomaly 1, 2007. Mixed media on canvas. 54 x 119
Claire Corey lives and works in Brooklyn, New York. She studied fine art at the University of California in Los Angeles and has received the following awards:New York Foundation for the Arts Fellowship in Computer Arts, The Aldrich Museum Trustee's Award for an Emerging Artist, Pollock-Krasner Foundation, Marie Walsh Sharpe Art Foundation Space Program.

Sentinel, 2007. Mixed media on cans. 24 inch diame
Sentinel, 2007. Mixed media on cans. 24 inch diame
Corey's work which can attain sizes of up to 180 x 250 cm, was titled until mid-2005 according to an alphanumerical system (thus, 5Z11D), which, on the one hand, bars the interpretative keys of the usual kind of titling, but, on the other, marks out for her the chronological genesis of her forms. For contemporary art, the computer has already become part of the stock in trade, both as a tool and a subject. In visual art, photography has been tangibly the most consistent and persuasive field for digital technology. Painting, along with drawing, was always the medium epitomising an unmistakable hand and the concept of the Original; so that the digital as a source in that genre tended rather to be viewed with scepticism. Yet in a historical perspective, currents that anticipated aspects of computer art have arisen again and again from the beginning of the last century on. The many different patterns in these works (squares, stripes, circles, etc.) catch the eye from the beginning. These graphic fields of rectangular or biomorphous tendency blend into more painterly areas with defined brushstrokes.

Beginning as a 'traditional' painter, Corey produced her first computer sketches in 1995. From 1995-2006 her work was mainly digital painting, created completely in the computer. Corey's work has continued to evolve. Her latest work is truly a meld of new and old techniques combining computer software, found and taken photographs and oil, pastels and pencils to work/rework her images.
Transparency/density, hard/soft edges, different positions and directions in the pictorial space, layers combined in rapid alternation to a height of perfection results in energetic work. The overall effect of these pictures is of high alertness and almost electric pulsating structures in juxtaposition with forceful broad sweeps of color. Corey's fundamental attitude to computers is not so much enthusiasm for technology as one of subversion. She has a fine instinct for turning the limitations of the medium, the program errors, to good account for her art. She also plays skilfully with our assumption that looking closely means better perception and that we can thereby the better 'get to grips' with the picture. Instead, the viewer's gaze is wrapt again and again as it moves in fractions of a second from one detail to the next and is fascinated by the infinite colour variations and an inexhaustible wealth of form.
Server, 2007. Pigmented ink on Hahnemuhle paper. 2
Server, 2007. Pigmented ink on Hahnemuhle paper. 2

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