SOPHIE FRIEDMAN-PAPPAS NY/LA
SOPHIEFRIEDMANPAPPAS@GMAIL.COM








PRESS ➔

Speculative Tourism from NYC to the DMZ: Sophie Friedman-Pappas and TJ Shin in Conversation with Moira Sims, Boston Art Review


UNLIFE: PART I, SOFT OPENING, LOS ANGELES, CA, 2023

KILN BUILDING QUILTING BUTTON 1 (FAILED, MAX TEMP 1600F), ALTERED DESIGN OF STEVE DAVIS’ FAUX-WOOD-FIRED KILN, MIXED MEDIA, 2023
WALL WORKS BY JASMINE GREGORY (LEFT) AND MARTIN WONG (RIGHT)


UNLIFE: PART II, SOFT OPENING, LONDON, 2024

KILN BUILDING QUILTING BUTTON 1 TOP, MIXED MEDIA, 2023


LACKER, IN LIEU, LOS ANGELES, CA 2023
DELTILLE-D WALL’S NECESSARY ANACHRONISM 1, GRAPHITE, DUCT TAPE, AND BIRD POOP ON KOZO PAPER IN ARTIST FRAME, 2022-2023

PAINTINGS BY MAREN KARLSON

DELTILLE-D WALL’S NECESSARY ANACHRONISM 2, INVERTED CAMERA OBSCURA (HOMEMADE PROJECTOR), MIXED MEDIA, 2023
LINK TO PROJECTED TEXT

SOPHIE FRIEDMAN-PAPPAS AND HANNAH BLACK, MEREDITH ROSEN GALLERY, NEW YORK, NY 2022
HIDE PILE 3, VEGETABLE-TANNED LEATHER, DUCT TAPE, AND WATERCOLOR, 2022
WE’RE STILL IN THE SAME BUILDING WE JUST KEEP PAINTING IT, DRAWING HOUSE, PARCHMENT, GRAVEL, WATER, CALCIUM OXIDE, EPOXY CLAY, HINGE, AND SILVER LEAF, 2022

UNTITLED, HAND-DYED GOAT PARCHMENT, T-SQUARES, RULER, AND SILVER LEAF, 2022
VIDEOS BY HANNAH BLACK

THE DEVIL YOU KNOW AT SIMONE SUBAL GALLERY, NEW YORK, NY 2022
STAFFAGE IN THE PIGEON HOUSE AT CLAIRE’S PLACE IN ARTIST FRAME AZO/URINE/HIDE GLUE STAINED, GRAPHITE AND WATERCOLOR ON COTTON RAG PAPER, 2022
HUDSON AND DUANE, GRAPHITE, COLORED PENCIL, AND WATERCOLOR ON PAPER, 2021

SALTED HIDE PILE, URINE-TANNED SHEEP HIDE, SALT, WATERCOLOR, AND WOOD, 2021
PRESS ➔ 
BOMB MAGAZINE


PERFECT CIRCLES ORGANIZED FROM THE TOP, GRAPHITE, COLORED PENCIL, AND WATERCOLOR ON PAPER, 2020

SCALE MODEL FIGURE #2, CARVED AND BURNT FOUND WOOD, HIDE GLUE, FOUND PLASTIC BOTTLE, AND SAND, 2020

SPOTTED CAKE TOPPER, TOY STROLLER, BEE, RAWHIDE, ELECTRIC CANDLE, AND TAPE, 2020
THEY SPOKE OF THIS FRUIT WITH GRIMACES OF DISGUST, GRAPHITE, COLORED PENCIL, AND WATERCOLOR ON PAPER, 2020
INTO THE WIND, GRAPHITE, COLORED PENCIL, AND WATERCOLOR ON PAPER, 2020

CITY FULL OF STICKS, GRAPHITE, AND COLORED PENCIL ON PAPER, 2020

CITY FULL OF STICKS 2, BRICK, FOUND OBJECT, AND PLASTIC SEQUIN, 2020
CITY FULL OF SOIL (ONE CHASE MANHATTAN PLAZA), HIDE GLUE, SAND, PHRAGMITES, SAPROPHYTIC FUNGI, PENICILLIUM MOLD, DRIED RAWHIDE, HAND-DUG CLAY, NEW URBAN SOIL, BROKEN DIORAMA, WOOD FROM NOAH’S ARK TOY, PINE ROSIN, AND ARTIFICIAL CAVIAR, 2020-2021
SCALE MODEL FIGURE 1, DOG BONE, FOUND PLASTIC TOY, HIDE GLUE, SAND, AND PRAYING MANTISES, 2020

PRESS ➞
Victoria Campbell, “The Surplus in Being: On Sophie Friedman-Pappas’ post-consumer practice & the xenocology of her Transfer Station solo show at Alyssa Davis,” AQNB, 2021.
Rudy Natazon, “Sophie Friedman-Pappas: Transfer Station,” The Brooklyn Rail, 2021.

ALL I REMEMBER NOW AT IN LIEU LOS ANGELES, CA 2021
QUICK PLUG, AZO URINARY PAIN RELIEF, URINE-TANNED STRIPED BASS LEATHER, PAINT BRUSHES, WOOD TAPE, FOUND OBJECTS, EPOXY CLAY, WATERCOLOR, THREAD, HIDE GLUE, SAND, AND GLAZED STONEWARE, 2021

BROKEN IN PERFECT CIRCLES ORGANIZED FROM THE TOP, URINE-TANNED STRIPED BASS LEATHER, WOOD, TAPE, FOUND OBJECTS, APOXIE SCULPT, WATERCOLOR, THREAD, HAIR, HIDE GLUE, SAND, PHRAGMITES, AND ALUMINUM FOIL, 2021