HUDSON AND DUANE, graphite, colored pencil, and watercolor on paper, 2021
SALTED HIDE PILE, urine-tanned sheep hide, salt, watercolor, and wood, 2021
TRANSFER STATION AT ALYSSA DAVIS GALLERY ORGANIZED BY OCTAGON (MOIRA SIMS), NEW YORK, NY
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
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
HIDE PILE, urine-tanned sheepskin, and dollhouse furniture, 2021
HEAT ISLAND, urine-tanned cod leather, artificial sinew, saprophytic fungi, penicillium mold, aloe fibers, charcoal, watercolor, Apoxie Sculpt, found objects, thread, grade stake, and aluminum foil, 2021
THEY SPOKE OF THIS FRUIT WITH GRIMACES OF DISGUST, graphite, colored pencil, and watercolor on paper, 2020
An imagined sewer system where urine is collected and utilized in the processing of animal hides. The title of this drawing is lifted from the first chapter of Émile Zola’s ‘The Fortune of the Rougons’ (1871): ‘... the old abandoned cemetery had been gradually purified by the dark thick-set vegetation which had sprouted over it every spring. The rich soil, in which the gravediggers could no longer delve without turning up some human remains, was possessed of wondrous fertility ... Among the curiosities of the place at that time were some large pear-trees, with twisted and knotty boughs; but none of the housewives of Plassans cared to pluck the large fruit which grew upon them. Indeed, the townspeople spoke of this fruit with grimaces of disgust.’
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 (Sculpture), 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
Each brick is made of topsoil and sand from Freshkills Park (the materials that mask the landfill itself), bound together with a collagen-based adhesive (hide glue). Friedman-Pappas constructed a scale model of One Chase Manhattan Plaza, incorporating a translucent dome made of hide glue bubbles as its skylight.
SCALE MODEL FIGURE #1, dog bone, found plastic toy, hide glue, sand, and praying mantises, 2020
UNTITLED, graphite, pomegranate juice, and watercolor on paper, 2021
PITCH COATING, cast iron, pine rosin, watercolor, NeverWet™, and WD40, 2021
BIG FISH EAT LITTLE FISH (After Pieter Bruegel the Elder’s engraving of the same name, 1557), graphite, colored pencil, and watercolor on paper, 2021
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.
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BROKEN IN PERFECT CIRCLES ORGANIZED FROM THE TOP, urine-tanned striped bass leather, wood, tape, found objects, ApoxieSculpt, watercolor, thread, hair, tinfoil, and phragmites, 2021
