https://sophiefriedmanpappas.com Sophie Friedman-Pappas Fri, 17 Nov 2023 17:26:58 +0000 https://sophiefriedmanpappas.com en https://sophiefriedmanpappas.com/WORK-1 Mon, 21 Jun 2021 14:03:03 +0000 Sophie Friedman-Pappas https://sophiefriedmanpappas.com/WORK-1 DEPARTMENT, PAUL SOTO, NEW YORK, NY, 2026 “NOTES ON SOPHIE FRIEDMAN-PAPPAS’S DEPARTMENT” &nbsp;➔&nbsp;Sophie Friedman-Pappas by Eliza Barry Callahan, BOMB MagazineTEXT BY DOMINIC COLES: 1. Consider a metal coil: as it turns in your hands, it appears that certain sections of its structure intersect and collide with others. Continue turning it: the structure as a whole appears to move forward in space, revealing further instances of overlap as it twists ahead. Now: if you were to hold the coil in place and move your sightline in relation to it, further optical intersections would be made perceptible. For example: the coil’s ends might meet, or – from a certain vantage – the coil could be distorted into a line, and also a block; all the while various segments within its topography would continue connecting to others seemingly disconnected. In its turning – which resembles something like forward propulsion – the coil seems to clarify. The coil seems to make clear structural connections not immediately apparent. In this sense, and in the context of Sophie Friedman-Pappas’s Department, it is tempting to conceive of the coil as a neat and resolved model of time. Something like: the coil models a conception of history wherein the repressed structural connections between disparate moments are made strikingly apparent. This is true, but its tidiness also obscures something perhaps of greater consequence: the coil makes clear various structural intersections depending on how you view it, how you move in relation to it, depending on your positioning vis-a-vis its structure. Which is also to say that its use emerges historically, when put to use within a context, within the structure of a subject’s position, within our classed, raced, gendered particularity. The coil exceeds metaphor in its function as a tool through which we can view ourselves – it is a mirror more than a model. <img width="2652" height="1988" width_o="2652" height_o="1988" data-src="https://freight.cargo.site/t/original/i/ec18c9af4c86ede481f38ef608f351c884edb96dee09fd08c7292971001ecc8c/Paul-Soto_Sophie-Friedman-Pappas_Department_03-26_0028.jpg" data-mid="246804547" border="0" src="https://freight.cargo.site/w/1000/i/ec18c9af4c86ede481f38ef608f351c884edb96dee09fd08c7292971001ecc8c/Paul-Soto_Sophie-Friedman-Pappas_Department_03-26_0028.jpg" /> <img width="2784" height="2088" width_o="2784" height_o="2088" data-src="https://freight.cargo.site/t/original/i/f85aaf9ebea555c2f9f69452dccc86eb770b23f1410576e5cd62e9c315579eca/Paul-Soto_Sophie-Friedman-Pappas_Department_03-26_0005.jpg" data-mid="246804541" border="0" src="https://freight.cargo.site/w/1000/i/f85aaf9ebea555c2f9f69452dccc86eb770b23f1410576e5cd62e9c315579eca/Paul-Soto_Sophie-Friedman-Pappas_Department_03-26_0005.jpg" /> <img width="2771" height="2078" width_o="2771" height_o="2078" data-src="https://freight.cargo.site/t/original/i/bc8f75fd5822b992aa6461b5f8427b596565dadbb581666dae3e6aecf3f27b6a/Paul-Soto_Sophie-Friedman-Pappas_Department_03-26_0022.jpg" data-mid="246804546" border="0" src="https://freight.cargo.site/w/1000/i/bc8f75fd5822b992aa6461b5f8427b596565dadbb581666dae3e6aecf3f27b6a/Paul-Soto_Sophie-Friedman-Pappas_Department_03-26_0022.jpg" /> <img width="2784" height="2088" width_o="2784" height_o="2088" data-src="https://freight.cargo.site/t/original/i/36334970cedb6dd08fa5c7ed555114fc46aeb056f21a06242097e1b89af60f5d/Paul-Soto_Sophie-Friedman-Pappas_Department_03-26_0069.jpg" data-mid="246804558" border="0" src="https://freight.cargo.site/w/1000/i/36334970cedb6dd08fa5c7ed555114fc46aeb056f21a06242097e1b89af60f5d/Paul-Soto_Sophie-Friedman-Pappas_Department_03-26_0069.jpg" /> <img width="2674" height="2006" width_o="2674" height_o="2006" data-src="https://freight.cargo.site/t/original/i/8da1f818e8de82a0db51aa61e1a92b353f4c21538f1d3d1799ec35b3b61de0dd/Paul-Soto_Sophie-Friedman-Pappas_Department_03-26_0019.jpg" data-mid="246804545" border="0" src="https://freight.cargo.site/w/1000/i/8da1f818e8de82a0db51aa61e1a92b353f4c21538f1d3d1799ec35b3b61de0dd/Paul-Soto_Sophie-Friedman-Pappas_Department_03-26_0019.jpg" /> 2. The coil’s design and production outlines but one of the alchemical processes initiated by industrialization. As metals merged in high temperature furnaces, companies and trusts consolidated into monopolies: the elemental and chemical transformations of the material seemed to take place at the level of business’ organization. And as matter, manufacture, and monopoly took shape, so too did the nature of the subject regulating these emergent forms: in parallel, the Industrialist set about fashioning their own singular-self. This would necessarily be a Mr. Subject-InControl, an “I [that] insists it is not the Other, not the world… [which] is of course the home terrain of the Classical Modern Subject.” The Industrialist would offer their own subjectivity as a 1 form of solidity in a changing, bending, twisting world – within the contours of the flexible, mutable alloy we could locate the unwavering rigidity of the Industrialist as character. But of course, this subjectivity was the result of storytelling magic, which is to say: a mediapolitical mouthpiece bought to conceal the fact that the Industrialist produced little to no value. The value therein was the product of the collective labor of the workers. In this sense, the Industrialist’s narrative of individuation was an operation within capital’s perceptual physics: a distortion between the actual and apparent source of value in which the Industrialist posited themself as its source. This narrative offering generated a further transformation: the subjectivity 2 of the Industrialist would be – in the eyes of the public – completely obliterated. Absorbed into 3 the form of the firm, the Industrialist is a building, a bond, a brick. Let’s call this character FRICK. <img width="2784" height="2088" width_o="2784" height_o="2088" data-src="https://freight.cargo.site/t/original/i/5cd1fc910127360085e0460458f433bd862e4d523bd15e711fcaeee5d2b372a9/Paul-Soto_Sophie-Friedman-Pappas_Department_03-26_0040.jpg" data-mid="246804550" border="0" src="https://freight.cargo.site/w/1000/i/5cd1fc910127360085e0460458f433bd862e4d523bd15e711fcaeee5d2b372a9/Paul-Soto_Sophie-Friedman-Pappas_Department_03-26_0040.jpg" /> <img width="2784" height="2088" width_o="2784" height_o="2088" data-src="https://freight.cargo.site/t/original/i/7c53f80b400888577bffeaa80f09fec926e3522c16d8cfe9755f688aa5612d6c/Paul-Soto_Sophie-Friedman-Pappas_Department_03-26_0060.jpg" data-mid="246804556" border="0" src="https://freight.cargo.site/w/1000/i/7c53f80b400888577bffeaa80f09fec926e3522c16d8cfe9755f688aa5612d6c/Paul-Soto_Sophie-Friedman-Pappas_Department_03-26_0060.jpg" /> DEPARTMENT 3, 2025-2026, REMADE AND REVERSED KILN, CERAMIC FIBER BLANKET, SODIUM SILICATE <img width="2750" height="2063" width_o="2750" height_o="2063" data-src="https://freight.cargo.site/t/original/i/9ab8035b1a9d1a673d8e760128ae28d836006f1c39d7432ae9c6acaddb3e47bf/Paul-Soto_Sophie-Friedman-Pappas_Department_03-26_0044.jpg" data-mid="246804551" border="0" src="https://freight.cargo.site/w/1000/i/9ab8035b1a9d1a673d8e760128ae28d836006f1c39d7432ae9c6acaddb3e47bf/Paul-Soto_Sophie-Friedman-Pappas_Department_03-26_0044.jpg" /> DEPARTMENT 2, 2025-2026, HOMEMADE KILN, CERAMIC FIBER BLANKET, SODIUM SILICATE <img width="2498" height="1873" width_o="2498" height_o="1873" data-src="https://freight.cargo.site/t/original/i/93097983195de626f0c857c061674dac1bb7706ac17d5df1d8898afabe300aca/Paul-Soto_Sophie-Friedman-Pappas_Department_03-26_0011.jpg" data-mid="246804543" border="0" src="https://freight.cargo.site/w/1000/i/93097983195de626f0c857c061674dac1bb7706ac17d5df1d8898afabe300aca/Paul-Soto_Sophie-Friedman-Pappas_Department_03-26_0011.jpg" /> 3. The coil traces an oscillation wherein the subject is dissolved, reformed, and dissolved again. In Department, the kiln is an instrument of this oscillation, a means for moving between various states of transposition: matter goes in one way and comes out another. What Department prods us to consider is the nature of the Artist’s individuation as it relates to the form of the Industrialist; the kiln is an instrument of individuation and industry as much as it is one for art-production. Like the Industrialist, the Artist works with the diffusion and dissolution of material and matter. And just like the Industrialist, they frequently offer a uniquely fashioned, singular-self on the other side of these transformations: a character, in part, designed to conceal the collective contributions that produce the work so as to secure their unique position in the market. Imagine the Artist who is obsessed with: their forms, their materials, their process, to name but a few of their various holdings. In Department, Sophie is searching for an oscillation – think: dissolving, reforming, obliterating, reconstituting – that produces a subjectivity that resembles the Industrialist a bit less. What other positions might we inhabit that do not rearticulate its form? <img width="2749" height="2062" width_o="2749" height_o="2062" data-src="https://freight.cargo.site/t/original/i/f26c7056203a6414775ebde7db4d2aeb5ab9ef52cb8d566157344feef457b7f4/Paul-Soto_Sophie-Friedman-Pappas_Department_03-26_0007.jpg" data-mid="246804542" border="0" src="https://freight.cargo.site/w/1000/i/f26c7056203a6414775ebde7db4d2aeb5ab9ef52cb8d566157344feef457b7f4/Paul-Soto_Sophie-Friedman-Pappas_Department_03-26_0007.jpg" /> 4. To do this, Sophie takes a cue from FRICK and fashions the character of “ARTIST” – one who is frantically searching for a means by which to reproduce and secure their identity. Let’s call this character REMBRANDT. REMBRANDT is aware that the kiln puts significant pressure on his agency, as in: who made the work? Artist or kiln? And he responds by frantically manufacturing and inserting coils made from a high-refractory material – designed to avoid the compositional shift catalyzed by extreme temperatures – into the kiln’s body. This is one way of retaining the artist’s touch, of 4 rearticulating his specific form of individuation: the coil’s components will remain unchanged despite the kiln’s fluctuations in temperature and, as such, the artist’s subjectivity remains intact. The continuity of REMBRANDT’S hand is sustained; the Artist, like the Industrialist, breeds more of himself. The satire of this situation is that the coils were still transformed! For all their marketing and purported stress-testing, the coils collapsed under extreme heat: it is the first of REMBRANDT’S humiliations from and submissions to the realities of the firing process. The next corresponds to the kilns themselves: if the coils have failed, at least his touch remains in the form of the kiln which he also fabricated. Hilariously: the kilns explode, they overflow with material, their outsides appear inflamed by the heat they were designed to contain, control, and regulate. REMBRANDT attempts to project himself into the material, to be absorbed into the form of kiln and coil, but he is unable. Why? REMBRANDT looks across the room: to his horror, he sees his self-portrait scattered across a wall – cut up into a series of haphazard squares and pasted freely. As the light hits the torn canvas, his eyes fall out of focus. “It must be the shock,” he thinks. The contours of his face blurring in the image, he catches the play of light on the thick, glossy applications of paint. There isn’t any of him to see. He looks closer at the brushstrokes. THE ARTIST’S materials are something other: they have a topography of their own – a form, a force, a way of moving. What Department suggests is that working with a material, in collaboration with it, comes with a responsibility, one that becomes something like a minimum case: which is to say – the material requires this at least when approached, listened to – when it is understood to be more than form-executing filler or a synecdoche for the artist’s self (ego). As such: Department articulates, with incredible humor, something like an ethics of materiality. In response to THE ARTIST’S frantic attempts at reconstituting identity, these materials move away. The artist must follow their lead. In the material – its topography, its history – and in the technical operation of 5 the artist’s various tools, is the possibility of an explosion that entirely reorders subjectivity. One that: “draw[s] the outlines of a subject-position that can authentically conceive of its own problem status… which would be a rhetorical shift along the lines of saying that the work of “experimentation” remains crucial, but is no longer understood as oriented toward a solution, and instead toward a fundamental recognition of the crisis of oneself as or in the world.” <img width="2681" height="2011" width_o="2681" height_o="2011" data-src="https://freight.cargo.site/t/original/i/39e965f23c4d0aaf5353bba36473aee594d5feae96b42f1779fdfa41fd227121/Paul-Soto_Sophie-Friedman-Pappas_Department_03-26_0065.jpg" data-mid="246804557" border="0" src="https://freight.cargo.site/w/1000/i/39e965f23c4d0aaf5353bba36473aee594d5feae96b42f1779fdfa41fd227121/Paul-Soto_Sophie-Friedman-Pappas_Department_03-26_0065.jpg" /> CORKSCREW YOU TOO (AFTER FRICK’S 1658 REMBRANDT SELF-PORTRAIT), 2025-2026, OIL PAINT, GRAPHITE, AND INK ON PAPER ON STEEL BRAKE <img width="2784" height="2088" width_o="2784" height_o="2088" data-src="https://freight.cargo.site/t/original/i/38d6c8ce40ee599b6d5174de426008cd7fa95282d790d6d6487491f695254082/Paul-Soto_Sophie-Friedman-Pappas_Department_03-26_0049.jpg" data-mid="246804553" border="0" src="https://freight.cargo.site/w/1000/i/38d6c8ce40ee599b6d5174de426008cd7fa95282d790d6d6487491f695254082/Paul-Soto_Sophie-Friedman-Pappas_Department_03-26_0049.jpg" /> <img width="2784" height="2088" width_o="2784" height_o="2088" data-src="https://freight.cargo.site/t/original/i/fbd68e6c1a34daf2dfe88eb5cb874a70cb4883d2e2fd5ce78fe8bd566db59c87/Paul-Soto_Sophie-Friedman-Pappas_Department_03-26_0052.jpg" data-mid="246804554" border="0" src="https://freight.cargo.site/w/1000/i/fbd68e6c1a34daf2dfe88eb5cb874a70cb4883d2e2fd5ce78fe8bd566db59c87/Paul-Soto_Sophie-Friedman-Pappas_Department_03-26_0052.jpg" /> DEPARTMENT 1, 2025-2026, REMADE KILN, CERAMIC FIBER BLANKET, SODIUM SILICATE <img width="2582" height="1937" width_o="2582" height_o="1937" data-src="https://freight.cargo.site/t/original/i/dbb13e45933398b353a65daf9efbf6b5e88d9ca15a7d12bdeaade715d6d6c901/Paul-Soto_Sophie-Friedman-Pappas_Department_03-26_0030.jpg" data-mid="246804548" border="0" src="https://freight.cargo.site/w/1000/i/dbb13e45933398b353a65daf9efbf6b5e88d9ca15a7d12bdeaade715d6d6c901/Paul-Soto_Sophie-Friedman-Pappas_Department_03-26_0030.jpg" /> <img width="2767" height="2075" width_o="2767" height_o="2075" data-src="https://freight.cargo.site/t/original/i/05a54789976f51c1814162387374ba3fb9bce39b120a0c8a3252d58f4566632c/Paul-Soto_Sophie-Friedman-Pappas_Department_03-26_0035.jpg" data-mid="246804549" border="0" src="https://freight.cargo.site/w/1000/i/05a54789976f51c1814162387374ba3fb9bce39b120a0c8a3252d58f4566632c/Paul-Soto_Sophie-Friedman-Pappas_Department_03-26_0035.jpg" /> 5. Consider a metal coil as it turns in your hands. What does it feel like? Are its ends sharp or filed? What is its temperature? Is it flexible? What does it remind you of? Where did you buy the coil? Have you been to this store before? Do you know who they purchased it from What does it feel like? Are its ends sharp or filed? What is its temperature? Is it flexible? What does it remind you of? Where did you buy the coil? Have you been to this store before? Do you know who they purchased it from? Or: did you fabricate it? What was the source of its metal? Has this coil been used before? What for? And what will you use it for now? DROPPING, DROPPING, RUMPLESTILTSKIN, NEW YORK, NY, 2025 <img width="5464" height="8192" width_o="5464" height_o="8192" data-src="https://freight.cargo.site/t/original/i/81962981144ad7f94bf8fdf9bc0c9196b590e39a4dc03c4136a624f53d42481f/011.jpg" data-mid="246342483" border="0" src="https://freight.cargo.site/w/1000/i/81962981144ad7f94bf8fdf9bc0c9196b590e39a4dc03c4136a624f53d42481f/011.jpg" /> <img width="8137" height="5427" width_o="8137" height_o="5427" data-src="https://freight.cargo.site/t/original/i/65f00e7c650418874aa0770a7a7859c85fd6c37943a8d8b9b28f8bafd567a84e/014.jpg" data-mid="246342472" border="0" src="https://freight.cargo.site/w/1000/i/65f00e7c650418874aa0770a7a7859c85fd6c37943a8d8b9b28f8bafd567a84e/014.jpg" /> <img width="8137" height="5427" width_o="8137" height_o="5427" data-src="https://freight.cargo.site/t/original/i/49709dd65714dce96f029d5507f664a77dd9f54a3df142f46867d4851b22b526/015.jpg" data-mid="246342473" border="0" src="https://freight.cargo.site/w/1000/i/49709dd65714dce96f029d5507f664a77dd9f54a3df142f46867d4851b22b526/015.jpg" /> SHORT-LIVED RELIEF, DSLR WHEEL STOP-MOTION ANIMATION, 2025 WALL WORK BY LOTHAR BAUMGARTEN Short-Lived Relief (2025) features a DSLR wheel stop-motion animation set in the former boardroom of the old Sinclair Oil Building—now a luxury apartment and photo shoot location in New York’s Financial District. The video follows an anonymous G-Man (government man) on probation as he fixates on documents from disgraced FBI agents of the past, including an erotic story written in 1998 by American turncoat Robert Hanssen depicting his wife Bonnie as she struggles with a window shade. The aroused agent masturbates out of a window onto an unsuspecting passerby. Imagining a bird, the soiled pedestrian thinks it’s good luck. <img width="7122" height="4748" width_o="7122" height_o="4748" data-src="https://freight.cargo.site/t/original/i/dd8f48b8de8cf8ae30d545912bb398faacb2b6f6b4f89334502853da7403af6d/260204_TRM_SFP-Drawings0030_Web.jpg" data-mid="246342475" border="0" src="https://freight.cargo.site/w/1000/i/dd8f48b8de8cf8ae30d545912bb398faacb2b6f6b4f89334502853da7403af6d/260204_TRM_SFP-Drawings0030_Web.jpg" /> HE’S FINISHED 1, GRAPHITE, OIL PAINT, AND KNEADED ERASER ON PAPER, 2025-2026 <img width="7145" height="4763" width_o="7145" height_o="4763" data-src="https://freight.cargo.site/t/original/i/2c64e9c3bb1a403c627cdc21f2f014eb3af431d47ace2d52a95d10c9bb25e448/260204_TRM_SFP-Drawings0034_Web.jpg" data-mid="246342478" border="0" src="https://freight.cargo.site/w/1000/i/2c64e9c3bb1a403c627cdc21f2f014eb3af431d47ace2d52a95d10c9bb25e448/260204_TRM_SFP-Drawings0034_Web.jpg" /> HE’S FINISHED 2, GRAPHITE, OIL PAINT, AND KNEADED ERASER ON PAPER, 2025-2026 <img width="7097" height="4731" width_o="7097" height_o="4731" data-src="https://freight.cargo.site/t/original/i/6f9f53bbed9148004478ce144d4f1a663ab185745e34fbc8596043b30844e3fc/260204_TRM_SFP-Drawings0032_Web.jpg" data-mid="246342477" border="0" src="https://freight.cargo.site/w/1000/i/6f9f53bbed9148004478ce144d4f1a663ab185745e34fbc8596043b30844e3fc/260204_TRM_SFP-Drawings0032_Web.jpg" /> <img width="2893" height="2403" width_o="2893" height_o="2403" data-src="https://freight.cargo.site/t/original/i/99b394ca614c823d9563b1cb03be441f42527a59c5d64495f7d490cbae223ecc/260204_TRM_SFP-Drawings0032_Web-copy.jpg" data-mid="246342476" border="0" src="https://freight.cargo.site/w/1000/i/99b394ca614c823d9563b1cb03be441f42527a59c5d64495f7d490cbae223ecc/260204_TRM_SFP-Drawings0032_Web-copy.jpg" /> HE’S FINISHED 3, GRAPHITE, OIL PAINT, AND KNEADED ERASER ON PAPER, 2025-2026 UNTITLED ENERGY,&nbsp;MAK CENTER FOR ART AND ARCHITECTURE, LOS ANGELES, CA 2025In September of 1920, one day around noon, a horse pulled a covered wagon onto Wall Street. The wagon was loaded with 100 pounds of dynamite, and 300 pounds of lead weights as shrapnel, and when it reached the old House of Morgan it exploded. Now widely attributed to anarchist Mario Buda, The Wall Street Bombing of 1920 “…managed to bring unprecedented terror to the inner sanctum of American capitalism…” with only “…some stolen dynamite, a pile of scrap metal, and an old horse…” It is still officially unsolved — the police allowed the horse’s dismembered body to be sent to Barren Island (an island off of the coast of South Brooklyn which between the mid-19th century and 1934 housed industrial plants that processed the city's dead animals) and ground into paste. The New York Call named the horse as “their only tangible clue,” and asked their readership: “Are the authorities investigating the Wall Street explosion deliberately destroying evidence, or are they just stupid?” The Call mocked the police for letting street-cleaning crews come in to wash out Wall Street. Eager to restore the stock market’s operating capacity, those crews flushed tons of potentially revealing debris into city drains. In the recycling and washing, utilitarianism and waste valorization undermined the state’s own interests. Buda’s horse had been sent to the glue factory on Barren Island for a orgiastic meltdown with the other dead horses, cats, and dogs of New York City. He narrowly escaped revealing his comrade’s person and in the process shed his own — he could no longer be a state-collaborator.&nbsp; <img width="4385" height="3247" width_o="4385" height_o="3247" data-src="https://freight.cargo.site/t/original/i/733eb203e471fd457d199695e78b1deb42d1ba69fe8171a9c9e5005b1e09b536/MAK_7-15-250551-close.jpg" data-mid="236275603" border="0" src="https://freight.cargo.site/w/1000/i/733eb203e471fd457d199695e78b1deb42d1ba69fe8171a9c9e5005b1e09b536/MAK_7-15-250551-close.jpg" /> <img width="8564" height="5709" width_o="8564" height_o="5709" data-src="https://freight.cargo.site/t/original/i/66665c9a71a7470b6f6b779d7099222f1c50d376b7eaa0b71b427858763cf3f4/MAK_7-15-250551.jpg" data-mid="236275451" border="0" src="https://freight.cargo.site/w/1000/i/66665c9a71a7470b6f6b779d7099222f1c50d376b7eaa0b71b427858763cf3f4/MAK_7-15-250551.jpg" /> I’M FINISHED, GRAPHITE, OIL PAINT, AND COLORED PENCIL ON PAPER, 2025 <img width="4623" height="2342" width_o="4623" height_o="2342" data-src="https://freight.cargo.site/t/original/i/eaad382de2843b6fbb2e71c75ce0f593468dd21217f2cee3f504a0437c54f350/MAK_7-15-250555-close.jpg" data-mid="236275604" border="0" data-scale="90" src="https://freight.cargo.site/w/1000/i/eaad382de2843b6fbb2e71c75ce0f593468dd21217f2cee3f504a0437c54f350/MAK_7-15-250555-close.jpg" /> <img width="8579" height="5719" width_o="8579" height_o="5719" data-src="https://freight.cargo.site/t/original/i/20e37f09e626502bb6edce1b0fe79941fd92d3c99755bc1e0866cc0f703803bb/MAK_7-15-250555.jpg" data-mid="236275452" border="0" src="https://freight.cargo.site/w/1000/i/20e37f09e626502bb6edce1b0fe79941fd92d3c99755bc1e0866cc0f703803bb/MAK_7-15-250555.jpg" /> YOU’RE FINISHED, GRAPHITE, OIL PAINT, AND PASTEL ON KOZO PAPER, 2025 <img width="3530" height="3909" width_o="3530" height_o="3909" data-src="https://freight.cargo.site/t/original/i/baee93ae7d7a311decd61bba2ddb10bf41928ffa0b7db0ed417115eee43d8d1d/MAK_7-15-250557-close.jpg" data-mid="236275605" border="0" 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data-src="https://freight.cargo.site/t/original/i/80fa0adb5361240ec0f4ca6339bfd781f17ead7b476ad994aca5ebfaf76e6848/MAK_7-15-250562.jpg" data-mid="236275457" border="0" src="https://freight.cargo.site/w/1000/i/80fa0adb5361240ec0f4ca6339bfd781f17ead7b476ad994aca5ebfaf76e6848/MAK_7-15-250562.jpg" /> I’M FINISHED, YOUR FINISHED, WE’RE FINISHED, 2025VIDEO BY ANNA JERMOLAEWA <img width="8688" height="5792" width_o="8688" height_o="5792" data-src="https://freight.cargo.site/t/original/i/28628999452c376d5596fb350163a33c1b6937b8736eb5c90049fbf93ecee5e7/MAK_7-15-250489.jpg" data-mid="236275454" border="0" src="https://freight.cargo.site/w/1000/i/28628999452c376d5596fb350163a33c1b6937b8736eb5c90049fbf93ecee5e7/MAK_7-15-250489.jpg" /> <img width="8650" height="5767" width_o="8650" height_o="5767" data-src="https://freight.cargo.site/t/original/i/baec4e853af26aa9dd0e14bf645612f20f21083b2d73664e0b9937db6cfa4588/MAK_7-15-250502.jpg" data-mid="236275455" border="0" src="https://freight.cargo.site/w/1000/i/baec4e853af26aa9dd0e14bf645612f20f21083b2d73664e0b9937db6cfa4588/MAK_7-15-250502.jpg" /> INTO THE WIND, 2020 VIDEO AND WALL SCULPTURE BY ANNA JERMOLAEWA PRESS ➔ PDF OF ‘THE CONDITIONS THAT SHAPE’ BY MARGARET KROSS, FLASH ART MAGAZINE, 2025 THE CEREMONY, PAUL SOTO, NEW YORK, NY 2025 <img width="2752" height="2064" width_o="2752" height_o="2064" data-src="https://freight.cargo.site/t/original/i/397ab3d7138aa97e653d62959540bd1ff41236931aaf877e605ff20c0f1e1d6a/Sophie-Friedman-Pappas_SF0002_0054.jpg" data-mid="225482392" border="0" src="https://freight.cargo.site/w/1000/i/397ab3d7138aa97e653d62959540bd1ff41236931aaf877e605ff20c0f1e1d6a/Sophie-Friedman-Pappas_SF0002_0054.jpg" /> <img width="2680" height="2010" width_o="2680" height_o="2010" data-src="https://freight.cargo.site/t/original/i/482df71ab13b3079c47954ebb7c590baebb5702bda60ad515780909fb9e54689/Sophie-Friedman-Pappas_SF0002_0056.jpg" data-mid="225482394" border="0" src="https://freight.cargo.site/w/1000/i/482df71ab13b3079c47954ebb7c590baebb5702bda60ad515780909fb9e54689/Sophie-Friedman-Pappas_SF0002_0056.jpg" /> <img width="2784" height="2088" width_o="2784" height_o="2088" data-src="https://freight.cargo.site/t/original/i/1619794318b1ffbe48e100c437063db3be7ee607bba917bdd800bebf4239aad7/Sophie-Friedman-Pappas_SF0002_0061.jpg" data-mid="225482396" border="0" src="https://freight.cargo.site/w/1000/i/1619794318b1ffbe48e100c437063db3be7ee607bba917bdd800bebf4239aad7/Sophie-Friedman-Pappas_SF0002_0061.jpg" /> <img width="2745" height="2059" width_o="2745" height_o="2059" data-src="https://freight.cargo.site/t/original/i/da6d55d08dcfe265a39fe40b273e290e2c8f8aa54bc0467cce8e0eede236ec9a/Sophie-Friedman-Pappas_SF0002_0059.jpg" data-mid="225482395" border="0" src="https://freight.cargo.site/w/1000/i/da6d55d08dcfe265a39fe40b273e290e2c8f8aa54bc0467cce8e0eede236ec9a/Sophie-Friedman-Pappas_SF0002_0059.jpg" /> KILN BUILDING 5, SELF-GLAZED KILN AND MIXED MEDIA, 2025 <img width="2760" height="2070" width_o="2760" height_o="2070" data-src="https://freight.cargo.site/t/original/i/9e3c169a03a13dc98c1556f9b779305074ae32a646466ce9eeec4446e332255f/Paul-Soto-01-25_0011_lores.jpg" data-mid="225482446" border="0" src="https://freight.cargo.site/w/1000/i/9e3c169a03a13dc98c1556f9b779305074ae32a646466ce9eeec4446e332255f/Paul-Soto-01-25_0011_lores.jpg" /> <img width="2474" height="1856" width_o="2474" height_o="1856" data-src="https://freight.cargo.site/t/original/i/f556a4fba6de7d3ba8eb3f09f45807d6ed4131f22b4cb8e520a1ef37aa313180/Sophie-Friedman-Pappas_SF0001_0045.jpg" data-mid="225482389" border="0" src="https://freight.cargo.site/w/1000/i/f556a4fba6de7d3ba8eb3f09f45807d6ed4131f22b4cb8e520a1ef37aa313180/Sophie-Friedman-Pappas_SF0001_0045.jpg" /> <img width="2524" height="1893" width_o="2524" height_o="1893" data-src="https://freight.cargo.site/t/original/i/8b82d6b21f22871f0264c03263002002a5cce987b25f57498f84ad35a0755919/Sophie-Friedman-Pappas_SF0001_0051.jpg" data-mid="225482390" border="0" src="https://freight.cargo.site/w/1000/i/8b82d6b21f22871f0264c03263002002a5cce987b25f57498f84ad35a0755919/Sophie-Friedman-Pappas_SF0001_0051.jpg" /> <img width="2784" height="2088" width_o="2784" height_o="2088" data-src="https://freight.cargo.site/t/original/i/0838b8099da0dd6857dca11f330eedd1f7527d15f7f14c922e2ca6715fc91b45/Sophie-Friedman-Pappas_SF0001_0066.jpg" data-mid="225482391" border="0" src="https://freight.cargo.site/w/1000/i/0838b8099da0dd6857dca11f330eedd1f7527d15f7f14c922e2ca6715fc91b45/Sophie-Friedman-Pappas_SF0001_0066.jpg" /> KILN BUILDING 4, SELF-GLAZED KILN AND MIXED MEDIA, 2025 PAINTINGS BY JACOB MASON-MACKLIN AND GRACE ROSARIO PRESS RELEASE ➔ “ I. “Destroying matter’s identity doesn’t destroy it,” SOPHIE-FRIEDMAN PAPPAS writes. The artist is talking about a horse who tugged an anarchist’s bomb down to the New York stock exchange and whose exploded limbs were turned to glue. But she’s also talking about, or maybe talking through, firing a brick in a kiln, a kiln fired so hot it becomes a sculpture itself. Identity stutters like light flickers through a camera obscura, pulverizing like dust from drywall coming down in commercial real estate as it’s converted into Airbnbs rentable for any sexual fantasy. Drawn to waste, accident, and re-appropriation, Friedman-Pappas treats all history as historical fiction destined, like us, for disappearance. Friedman-Pappas starts from the residue, remnant, or remainder to generate forms that are not “final” but both enact and represent a frozen moment of an object’s production. The sculptures in this exhibition are part of Friedman-Pappas project Buda’s Horse. The elements of the project, including these two works, sublimate her historical detective work into subjects as seemingly disparate as: the 1920 Wall Street bombing attributed to Mario Buda; Lacan’s fixation on upholstery; a single possibly 119-year-old brick fused with plate shards in a San Francisco historical society that serves as a relic to the Great Fire of 1906; Cycladic dovecotes. The resulting sculptures combine ceramic, metal grates, magnifying glasses, bricks, and burners into assemblages that dissolve any distinctions between inside and outside, before and after, or constructed and demolished. ” SCUPPER, FRANCIOS GHEBALY, LOS ANGELES, CA 2024 <img width="2527" height="1895" width_o="2527" height_o="1895" data-src="https://freight.cargo.site/t/original/i/165d485488b25f39203e0a1daca811630681e04932fa28aa87a0da642526c902/Friedman-Pappas--Kiln-Building-3--2024-SFP-24.001-2.jpg" data-mid="218846129" border="0" src="https://freight.cargo.site/w/1000/i/165d485488b25f39203e0a1daca811630681e04932fa28aa87a0da642526c902/Friedman-Pappas--Kiln-Building-3--2024-SFP-24.001-2.jpg" /> <img width="2320" height="1740" width_o="2320" height_o="1740" data-src="https://freight.cargo.site/t/original/i/54e3d446277c31537fda94ea20b98342a8a780a12232dd8686b4d665fbfc368b/Friedman-Pappas--Kiln-Building-3--2024-SFP-24.001-1.jpg" data-mid="218846128" border="0" 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SELF-GLAZED KILN AND MIXED MEDIA, 2024 LIST PROJECTS 28: SOPHIE FRIEDMAN-PAPPAS AND TJ SHIN, MIT LIST CENTER, CAMBRIDGE, MA 2023-2024 <img width="2784" height="2088" width_o="2784" height_o="2088" data-src="https://freight.cargo.site/t/original/i/e1ff133754543a2b7ace1abb3f67d482af2dcef0064b0f443c0a72b9d8c0ea4a/07_Install_MIT-List-Friedman-Pappas_Shin_2023.jpg" data-mid="199555174" border="0" src="https://freight.cargo.site/w/1000/i/e1ff133754543a2b7ace1abb3f67d482af2dcef0064b0f443c0a72b9d8c0ea4a/07_Install_MIT-List-Friedman-Pappas_Shin_2023.jpg" /> <img width="3000" height="2250" width_o="3000" height_o="2250" data-src="https://freight.cargo.site/t/original/i/5a2370efbec9cc05c7545a95f52dbca2c912692929a743d2156520917d5c7137/15_Install_MIT-List-Friedman-Pappas_Shin_2023.jpg" data-mid="199558818" border="0" src="https://freight.cargo.site/w/1000/i/5a2370efbec9cc05c7545a95f52dbca2c912692929a743d2156520917d5c7137/15_Install_MIT-List-Friedman-Pappas_Shin_2023.jpg" /> <img width="3000" 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data-src="https://freight.cargo.site/t/original/i/8a3ff940782ace6a6d993b12bc5f6e26bf3d98e1aae56b179f3e09c834143b34/Travelogue20240625_0010.jpg" data-mid="213662715" border="0" src="https://freight.cargo.site/w/1000/i/8a3ff940782ace6a6d993b12bc5f6e26bf3d98e1aae56b179f3e09c834143b34/Travelogue20240625_0010.jpg" /> <img width="1943" height="3000" width_o="1943" height_o="3000" data-src="https://freight.cargo.site/t/original/i/27b4eb9c7eb17b175bbf723f81e8d9992ef7f66cfeabb32187c4d5f07b93f6d7/Travelogue20240625_0007.jpg" data-mid="213662712" border="0" src="https://freight.cargo.site/w/1000/i/27b4eb9c7eb17b175bbf723f81e8d9992ef7f66cfeabb32187c4d5f07b93f6d7/Travelogue20240625_0007.jpg" /> <img width="1930" height="3000" width_o="1930" height_o="3000" data-src="https://freight.cargo.site/t/original/i/89af26fd7234742f1cc23d6566b02c32f6f9fdf517245a2a3cedf5a980689965/Travelogue20240625_0008.jpg" data-mid="213662713" border="0" src="https://freight.cargo.site/w/1000/i/89af26fd7234742f1cc23d6566b02c32f6f9fdf517245a2a3cedf5a980689965/Travelogue20240625_0008.jpg" /> DELTILLE-D WALL’S NECESSARY ANACHRONISM 2, INVERTED CAMERA OBSCURA (HOMEMADE PROJECTOR), MIXED MEDIA,2023 UNTITLED (TRAVELOGUE 2, 4, 6, 10, 12, 14, 16, 20, 22, 26, 28, 32), MIXED MEDIA ON PAPER “Executed in graphite, colored pencil, and oil paint, Friedman-Pappas’s suite of drawings is the artist’s proposal for turning the buildings of Manhattan’s Financial District into kilns. The artist describes the works as “instructional drawings” that merge the language of anarchist zines with art-historical traditions of vedute (topographical views) and capricci (architectural fantasies)—both sold as souvenirs in the nineteenth century.” EXHIBITION BROCHUREPRESS ➔ 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 <img width="11569" height="7713" width_o="11569" height_o="7713" data-src="https://freight.cargo.site/t/original/i/d4c3562449b77d197c17c5d65c1c2ea5ed761ad8e2495f0c20f4004dc34b6714/2023_11_15_SO20741.jpg" data-mid="197880387" border="0" src="https://freight.cargo.site/w/1000/i/d4c3562449b77d197c17c5d65c1c2ea5ed761ad8e2495f0c20f4004dc34b6714/2023_11_15_SO20741.jpg" /> <img width="10437" height="6958" width_o="10437" height_o="6958" data-src="https://freight.cargo.site/t/original/i/da508e57d85d266e69413a2b343a59ac1a370ae4daa13d43194ed4dc3b8daa90/2023_11_15_SO20739.jpg" data-mid="197880388" border="0" src="https://freight.cargo.site/w/1000/i/da508e57d85d266e69413a2b343a59ac1a370ae4daa13d43194ed4dc3b8daa90/2023_11_15_SO20739.jpg" /> <img width="10139" height="7605" width_o="10139" height_o="7605" data-src="https://freight.cargo.site/t/original/i/b9a2597839639e80df0879e7567e0324ed738456e1f68c6c0817cc1175170bb2/2023_11_15_SO20804.jpg" data-mid="197880392" border="0" src="https://freight.cargo.site/w/1000/i/b9a2597839639e80df0879e7567e0324ed738456e1f68c6c0817cc1175170bb2/2023_11_15_SO20804.jpg" /> <img width="10676" height="8007" width_o="10676" height_o="8007" data-src="https://freight.cargo.site/t/original/i/c05f06e2181c671d8514a9c6dbe848c5510d6c7eb04a6beb9046e6466a71dd54/2023_11_15_SO20805.jpg" data-mid="197880393" border="0" src="https://freight.cargo.site/w/1000/i/c05f06e2181c671d8514a9c6dbe848c5510d6c7eb04a6beb9046e6466a71dd54/2023_11_15_SO20805.jpg" /> 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 <img width="2657" height="3543" width_o="2657" height_o="3543" data-src="https://freight.cargo.site/t/original/i/a9268f6e6d0bcde66c8543a287a2c58d69a10135165b1b62be1c4705003a84d4/Mark-Blower-240105-Soft-Opening-0005.jpg" data-mid="206278569" border="0" src="https://freight.cargo.site/w/1000/i/a9268f6e6d0bcde66c8543a287a2c58d69a10135165b1b62be1c4705003a84d4/Mark-Blower-240105-Soft-Opening-0005.jpg" /> <img width="2657" height="3543" width_o="2657" height_o="3543" data-src="https://freight.cargo.site/t/original/i/340c87959b64d0e157798f12e0c0e37231737199adba943e667b369695f89e62/Mark-Blower-240105-Soft-Opening-0004.jpg" data-mid="206278568" border="0" src="https://freight.cargo.site/w/1000/i/340c87959b64d0e157798f12e0c0e37231737199adba943e667b369695f89e62/Mark-Blower-240105-Soft-Opening-0004.jpg" /> <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/6e45a46d9faf4b60c47c51df6cbbd54e06c25e6523b80b14979b3843c12e4401/Mark-Blower-240105-Soft-Opening-0010.jpg" data-mid="206278570" border="0" src="https://freight.cargo.site/w/1000/i/6e45a46d9faf4b60c47c51df6cbbd54e06c25e6523b80b14979b3843c12e4401/Mark-Blower-240105-Soft-Opening-0010.jpg" /> <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/f78788bb1017fa21c470f25d5dc3aa3ca4e06c51378f06cb6ef030c6341914b3/Mark-Blower-240105-Soft-Opening-0012.jpg" data-mid="206278571" border="0" src="https://freight.cargo.site/w/1000/i/f78788bb1017fa21c470f25d5dc3aa3ca4e06c51378f06cb6ef030c6341914b3/Mark-Blower-240105-Soft-Opening-0012.jpg" /> <img width="2362" height="3543" width_o="2362" height_o="3543" data-src="https://freight.cargo.site/t/original/i/d03b7d42ae6020865420c4b813a8973abd2b4275cfef7d100ae8f60648580153/Mark-Blower-240105-Soft-Opening-0009-Edit.jpg" data-mid="206278573" border="0" src="https://freight.cargo.site/w/1000/i/d03b7d42ae6020865420c4b813a8973abd2b4275cfef7d100ae8f60648580153/Mark-Blower-240105-Soft-Opening-0009-Edit.jpg" /> <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/51148b7b8a3818ffa49ab79b5295fd11338d1a09d879b5442ec2ee979aec6fce/Mark-Blower-240105-Soft-Opening-0068-HDR-Edit.jpg" data-mid="206278574" border="0" src="https://freight.cargo.site/w/1000/i/51148b7b8a3818ffa49ab79b5295fd11338d1a09d879b5442ec2ee979aec6fce/Mark-Blower-240105-Soft-Opening-0068-HDR-Edit.jpg" /> KILN BUILDING QUILTING BUTTON 1 TOP, MIXED MEDIA, 2023 LACKER, IN LIEU, LOS ANGELES, CA 2023 <img width="4000" height="3031" width_o="4000" height_o="3031" data-src="https://freight.cargo.site/t/original/i/74096a56fc71bafe1cdf5243aed62c946fa8ace160719ae14a8204fd727832fe/20230415_InLieu_007_4000px.jpg" data-mid="177133563" border="0" src="https://freight.cargo.site/w/1000/i/74096a56fc71bafe1cdf5243aed62c946fa8ace160719ae14a8204fd727832fe/20230415_InLieu_007_4000px.jpg" /> <img width="682" height="853" width_o="682" height_o="853" data-src="https://freight.cargo.site/t/original/i/9be0d3fc5907dd5cdc50c2362587f5da94afed592c5162b4ff1fe8bbc1385744/20230415_InLieu_007_4000pxdetail2.jpg" data-mid="177133565" border="0" src="https://freight.cargo.site/w/682/i/9be0d3fc5907dd5cdc50c2362587f5da94afed592c5162b4ff1fe8bbc1385744/20230415_InLieu_007_4000pxdetail2.jpg" /> <img width="1205" height="1507" width_o="1205" height_o="1507" data-src="https://freight.cargo.site/t/original/i/fc924f4bb12e19c1dc7fc592f4a3b234dd4123a2cf888f357856b48823fd680e/20230415_InLieu_007_4000pxdetail1.jpg" data-mid="177133564" border="0" src="https://freight.cargo.site/w/1000/i/fc924f4bb12e19c1dc7fc592f4a3b234dd4123a2cf888f357856b48823fd680e/20230415_InLieu_007_4000pxdetail1.jpg" /> DELTILLE-D WALL’S NECESSARY ANACHRONISM 1, GRAPHITE, DUCT TAPE, AND BIRD POOP ON KOZO PAPER IN ARTIST FRAME, 2022-2023 <img width="4000" height="3000" width_o="4000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/3a7ff1e182cec650617510f266508675e89859c0d71f37c23b69fe03aa7c2b6e/20230415_InLieu_021_4000px.jpg" data-mid="177133566" border="0" src="https://freight.cargo.site/w/1000/i/3a7ff1e182cec650617510f266508675e89859c0d71f37c23b69fe03aa7c2b6e/20230415_InLieu_021_4000px.jpg" /> <img width="4000" height="3000" width_o="4000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/6000cab775f7f5da129e8977a39e4dc149d1e017d9e87458d7162791be35977d/20230415_InLieu_018_4000px.jpg" data-mid="177134228" border="0" src="https://freight.cargo.site/w/1000/i/6000cab775f7f5da129e8977a39e4dc149d1e017d9e87458d7162791be35977d/20230415_InLieu_018_4000px.jpg" /> PAINTINGS BY MAREN KARLSON <img width="3000" height="4000" width_o="3000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/858c3adb45218952d059402724f4bb44a403015d9f3515bbc0f23cb00cc4255c/20230415_InLieu_016_edit_4000px.jpg" data-mid="177136700" border="0" src="https://freight.cargo.site/w/1000/i/858c3adb45218952d059402724f4bb44a403015d9f3515bbc0f23cb00cc4255c/20230415_InLieu_016_edit_4000px.jpg" /> <img width="3000" height="4000" width_o="3000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/007c18397c7f6f72127d96e894c428cbc81a1e879856f9801a795874ac6de2cb/20230415_InLieu_017_4000px.jpg" data-mid="177136718" border="0" src="https://freight.cargo.site/w/1000/i/007c18397c7f6f72127d96e894c428cbc81a1e879856f9801a795874ac6de2cb/20230415_InLieu_017_4000px.jpg" /> <img width="4000" height="3000" width_o="4000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/0b1969872db96431e9a23c3b4a9d88414b3d2c088b0856e8b6a11f5751b9ab64/20230415_InLieu_026_4000px.jpg" data-mid="177136841" border="0" src="https://freight.cargo.site/w/1000/i/0b1969872db96431e9a23c3b4a9d88414b3d2c088b0856e8b6a11f5751b9ab64/20230415_InLieu_026_4000px.jpg" /> <img width="4000" height="3000" width_o="4000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/a4c5db7dd7927eb4d0a53da03669a162e05212df76dbd093b9b26f474a478eba/20230415_InLieu_027_4000px.jpg" data-mid="177136842" border="0" src="https://freight.cargo.site/w/1000/i/a4c5db7dd7927eb4d0a53da03669a162e05212df76dbd093b9b26f474a478eba/20230415_InLieu_027_4000px.jpg" /> DELTILLE-D WALL’S NECESSARY ANACHRONISM 2, INVERTED CAMERA OBSCURA (HOMEMADE PROJECTOR), MIXED MEDIA, 2023 LINK TO&nbsp;PROJECTED TEXT RESIDUE, MOSSFLOWER, 2023 <img width="2000" height="1395" width_o="2000" height_o="1395" data-src="https://freight.cargo.site/t/original/i/74989f0396dad22cfb76a92da17bad7e950774cfa7bbad06cbc2c0e01e330e7e/78-79_Mossflower_Residue_Archive.jpeg" data-mid="177137601" border="0" src="https://freight.cargo.site/w/1000/i/74989f0396dad22cfb76a92da17bad7e950774cfa7bbad06cbc2c0e01e330e7e/78-79_Mossflower_Residue_Archive.jpeg" /> SOPHIE FRIEDMAN-PAPPAS AND HANNAH BLACK, MEREDITH ROSEN GALLERY, NEW YORK, NY 2022 <img width="1669" height="2160" width_o="1669" height_o="2160" data-src="https://freight.cargo.site/t/original/i/f08287a6bed6a518285de61371478132b7bdd295e344b3cd012df2320560612a/20220815_Marissa-Alper_Meredith-Rosen-Gallery_14.JPG" data-mid="150845504" border="0" src="https://freight.cargo.site/w/1000/i/f08287a6bed6a518285de61371478132b7bdd295e344b3cd012df2320560612a/20220815_Marissa-Alper_Meredith-Rosen-Gallery_14.JPG" /> HIDE PILE 3, VEGETABLE-TANNED LEATHER, DUCT TAPE, AND WATERCOLOR, 2022 <img width="2000" height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/a91adc13912c555c49395f39d30751e00cd754bbb3557f3c74abd5bda36a0d18/Same_Building_03.jpg" data-mid="151022920" border="0" src="https://freight.cargo.site/w/1000/i/a91adc13912c555c49395f39d30751e00cd754bbb3557f3c74abd5bda36a0d18/Same_Building_03.jpg" /> <img width="2160" height="1669" width_o="2160" height_o="1669" data-src="https://freight.cargo.site/t/original/i/18675a7eb67d2e58b1ae32d1585d21c20c9b233e630b4bfb097926c8e0d1a186/20220815_Marissa-Alper_Meredith-Rosen-Gallery_8.JPG" data-mid="150845506" border="0" src="https://freight.cargo.site/w/1000/i/18675a7eb67d2e58b1ae32d1585d21c20c9b233e630b4bfb097926c8e0d1a186/20220815_Marissa-Alper_Meredith-Rosen-Gallery_8.JPG" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/168d7af6f5428a254e27e0388dbb49830693b24b83bfe9ab8c95776647a8b536/Detail_Horse.jpg" data-mid="151023344" border="0" src="https://freight.cargo.site/w/1000/i/168d7af6f5428a254e27e0388dbb49830693b24b83bfe9ab8c95776647a8b536/Detail_Horse.jpg" /> 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 <img width="1669" height="2160" width_o="1669" height_o="2160" data-src="https://freight.cargo.site/t/original/i/87a512681a35d897dff39e02e13f932803f896b243b93a7316cf211b55aadf4e/20220815_Marissa-Alper_Meredith-Rosen-Gallery_2.JPG" data-mid="150845507" border="0" src="https://freight.cargo.site/w/1000/i/87a512681a35d897dff39e02e13f932803f896b243b93a7316cf211b55aadf4e/20220815_Marissa-Alper_Meredith-Rosen-Gallery_2.JPG" /> <img width="2160" height="1728" width_o="2160" height_o="1728" data-src="https://freight.cargo.site/t/original/i/7288a3b85b6509a9e2fa1f888163c26d94af52e285f5c11aff11a18256a0e580/20220815_Marissa-Alper_Meredith-Rosen-Gallery_3.JPG" data-mid="150845508" border="0" src="https://freight.cargo.site/w/1000/i/7288a3b85b6509a9e2fa1f888163c26d94af52e285f5c11aff11a18256a0e580/20220815_Marissa-Alper_Meredith-Rosen-Gallery_3.JPG" /> UNTITLED, HAND-DYED GOAT PARCHMENT, T-SQUARES, RULER, AND SILVER LEAF, 2022 VIDEOS BY HANNAH BLACK <img width="5322" height="4257" width_o="5322" height_o="4257" data-src="https://freight.cargo.site/t/original/i/c712fcc20454d8f5969316b2a16b3246096869c87e6ffa9aaa44583ffbad68a6/240122_SFP_0019.jpg" data-mid="233929219" border="0" src="https://freight.cargo.site/w/1000/i/c712fcc20454d8f5969316b2a16b3246096869c87e6ffa9aaa44583ffbad68a6/240122_SFP_0019.jpg" /> SOCRATES’ PIGEON HOUSE, TRIANTROS, BARN HOSTED BY SOKRATIS-NIKOS, 2022GRAPHITE AND PIGMENT ON RABBIT-SKIN PARCHMENT PRESS ➔ Jessica S. Kwok, “The Evolutionary and Revolutionary Thresholds of Hannah Black and Sophie Friedman-Pappas,” Frieze Magazine, 2022 THE DEVIL YOU KNOW AT SIMONE SUBAL GALLERY, NEW YORK, NY 2022 <img width="5760" height="3840" width_o="5760" height_o="3840" data-src="https://freight.cargo.site/t/original/i/dafcf7206abe6bd4d52e83fcb21e95aeb9c1dd78585e8eb7830a3be5b45c250f/SFP22-01.jpg" data-mid="134243471" border="0" src="https://freight.cargo.site/w/1000/i/dafcf7206abe6bd4d52e83fcb21e95aeb9c1dd78585e8eb7830a3be5b45c250f/SFP22-01.jpg" /> <img width="1817" height="1257" width_o="1817" height_o="1257" data-src="https://freight.cargo.site/t/original/i/0e62af5fba23b2d5d2d2edb5d694dfaf679dd1a8c4d3f65aac8cb214a486026b/claire-s-place-ig-detail2.jpg" data-mid="134243618" border="0" src="https://freight.cargo.site/w/1000/i/0e62af5fba23b2d5d2d2edb5d694dfaf679dd1a8c4d3f65aac8cb214a486026b/claire-s-place-ig-detail2.jpg" /> <img width="2052" height="1298" width_o="2052" height_o="1298" data-src="https://freight.cargo.site/t/original/i/65308929a7f07cbd5ada513939e2d967368e10a735e08f5936b68dbc680cab9b/claire-s-place-ig-detail.jpg" data-mid="134243619" border="0" src="https://freight.cargo.site/w/1000/i/65308929a7f07cbd5ada513939e2d967368e10a735e08f5936b68dbc680cab9b/claire-s-place-ig-detail.jpg" /> 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 SHIT! AT CUCHIFRITOS GALLERY ORGANIZED BY TJ SHIN, NEW YORK, NY <img width="2271" height="2400" width_o="2271" height_o="2400" data-src="https://freight.cargo.site/t/original/i/686ec62cdd93ee43a9e9326bdf5e582552eb59680dfbe428e4af53ff57be8b05/27_shit_S-Friedman-Pappas_CuchifritosGallery_sm.jpg" data-mid="124065143" border="0" src="https://freight.cargo.site/w/1000/i/686ec62cdd93ee43a9e9326bdf5e582552eb59680dfbe428e4af53ff57be8b05/27_shit_S-Friedman-Pappas_CuchifritosGallery_sm.jpg" /> <img width="2948" height="2148" width_o="2948" height_o="2148" data-src="https://freight.cargo.site/t/original/i/cd19738f30e291f9ff2a3bdd552db5c7ee07f87a83920bde0dc3da7afc01150b/hudson-and-duane-crop.jpg" data-mid="124064810" border="0" src="https://freight.cargo.site/w/1000/i/cd19738f30e291f9ff2a3bdd552db5c7ee07f87a83920bde0dc3da7afc01150b/hudson-and-duane-crop.jpg" /> HUDSON AND DUANE, GRAPHITE, COLORED PENCIL, AND WATERCOLOR ON PAPER, 2021 <img width="1990" height="2400" width_o="1990" height_o="2400" data-src="https://freight.cargo.site/t/original/i/19f41536ae5f6a60b95d0de052d25102793415a29e7a1f4ffc8f67c0fba0b236/11_shit_S-Friedman-Pappas_CuchifritosGallery_sm.jpg" data-mid="124065142" border="0" src="https://freight.cargo.site/w/1000/i/19f41536ae5f6a60b95d0de052d25102793415a29e7a1f4ffc8f67c0fba0b236/11_shit_S-Friedman-Pappas_CuchifritosGallery_sm.jpg" /> <img width="1818" height="2400" width_o="1818" height_o="2400" data-src="https://freight.cargo.site/t/original/i/32f22da69647cb49c20673410ad0d0080f7693ace170e2000ffa9327127d6b71/12_shit_S-Friedman-Pappas_CuchifritosGallery_sm.jpg" data-mid="124065141" border="0" src="https://freight.cargo.site/w/1000/i/32f22da69647cb49c20673410ad0d0080f7693ace170e2000ffa9327127d6b71/12_shit_S-Friedman-Pappas_CuchifritosGallery_sm.jpg" /> SALTED HIDE PILE, URINE-TANNED SHEEP HIDE, SALT, WATERCOLOR, AND WOOD, 2021 PRESS ➔&nbsp; BOMB MAGAZINE TRANSFER STATION AT ALYSSA DAVIS GALLERY ORGANIZED BY OCTAGON (MOIRA SIMS), NEW YORK, NY 2021 <img width="2000" height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/6f458d4652226a2e664c936864c3b2a908b1c8f9a8c61960f3a37036ac87e5e5/Install_07.jpg" data-mid="112425240" border="0" src="https://freight.cargo.site/w/1000/i/6f458d4652226a2e664c936864c3b2a908b1c8f9a8c61960f3a37036ac87e5e5/Install_07.jpg" /> <img width="2000" height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/35e2accf7fa992f461d42239b07a586f577af8d86bb48bc6384fcc28162e1cb5/Install_03.jpg" data-mid="112426228" border="0" src="https://freight.cargo.site/w/1000/i/35e2accf7fa992f461d42239b07a586f577af8d86bb48bc6384fcc28162e1cb5/Install_03.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/6d94ed9e1472d906784c7589a4d82fde5b2aa61e965425c3080e14d3c4e51a99/17.jpg" data-mid="112653527" border="0" src="https://freight.cargo.site/w/1000/i/6d94ed9e1472d906784c7589a4d82fde5b2aa61e965425c3080e14d3c4e51a99/17.jpg" /> <img width="3000" height="2259" width_o="3000" height_o="2259" data-src="https://freight.cargo.site/t/original/i/9121926623968eb80da031d57e08abf0e5056767d15599cc3d610c1f4fcfea6a/Circles_Top_Scan.jpg" data-mid="112654758" border="0" src="https://freight.cargo.site/w/1000/i/9121926623968eb80da031d57e08abf0e5056767d15599cc3d610c1f4fcfea6a/Circles_Top_Scan.jpg" /> PERFECT CIRCLES ORGANIZED FROM THE TOP, GRAPHITE, COLORED PENCIL, AND WATERCOLOR ON PAPER, 2020 <img width="2000" height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/c11aca3725ddd11bf1a4e8b2ba15b3a3ee081720c79bc2d9ce70cc5babcee40f/Scale_Figure_2_01.jpg" data-mid="112653102" border="0" src="https://freight.cargo.site/w/1000/i/c11aca3725ddd11bf1a4e8b2ba15b3a3ee081720c79bc2d9ce70cc5babcee40f/Scale_Figure_2_01.jpg" /> <img width="1999" height="3000" width_o="1999" height_o="3000" data-src="https://freight.cargo.site/t/original/i/5cb3fb725c337aefb99dd34b2cdb1edcb9e845ab6b7da2d13d2903b0d89438b4/Scale_Figure_2_detail.jpg" data-mid="112653106" border="0" src="https://freight.cargo.site/w/1000/i/5cb3fb725c337aefb99dd34b2cdb1edcb9e845ab6b7da2d13d2903b0d89438b4/Scale_Figure_2_detail.jpg" /> SCALE MODEL FIGURE #2, CARVED AND BURNT FOUND WOOD, HIDE GLUE, FOUND PLASTIC BOTTLE, AND SAND, 2020 <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/a1f0c33428265c7bd47e30448cd8ad44912109559a33667520b6139cc9f06dac/Spotted.jpg" data-mid="112653143" border="0" src="https://freight.cargo.site/w/1000/i/a1f0c33428265c7bd47e30448cd8ad44912109559a33667520b6139cc9f06dac/Spotted.jpg" /> <img width="3000" height="1999" width_o="3000" height_o="1999" data-src="https://freight.cargo.site/t/original/i/01dd98ac27b4036fe6cadca8c1191cffcd7387adfa612b1279ca9aa6818dfb36/Spotted_Detail.jpg" data-mid="112653144" border="0" src="https://freight.cargo.site/w/1000/i/01dd98ac27b4036fe6cadca8c1191cffcd7387adfa612b1279ca9aa6818dfb36/Spotted_Detail.jpg" /> SPOTTED CAKE TOPPER, TOY STROLLER, BEE, RAWHIDE, ELECTRIC CANDLE, AND TAPE, 2020 <img width="3000" height="2141" width_o="3000" height_o="2141" data-src="https://freight.cargo.site/t/original/i/176427760e5b3b716fcc233b68788e6c2d37ed55272c0d07f0deab5ce4dfe64c/Disgust_Scan.jpg" data-mid="112655320" border="0" src="https://freight.cargo.site/w/1000/i/176427760e5b3b716fcc233b68788e6c2d37ed55272c0d07f0deab5ce4dfe64c/Disgust_Scan.jpg" /> THEY SPOKE OF THIS FRUIT WITH GRIMACES OF DISGUST, GRAPHITE, COLORED PENCIL, AND WATERCOLOR ON PAPER, 2020 <img width="3000" height="2136" width_o="3000" height_o="2136" data-src="https://freight.cargo.site/t/original/i/94babd0935e31fa05948698fcfe775e483e6c5b5b682c1f6376a1c58e453d3ec/Wind_Scan.jpg" data-mid="112655312" border="0" src="https://freight.cargo.site/w/1000/i/94babd0935e31fa05948698fcfe775e483e6c5b5b682c1f6376a1c58e453d3ec/Wind_Scan.jpg" /> INTO THE WIND, GRAPHITE, COLORED PENCIL, AND WATERCOLOR ON PAPER, 2020 <img width="2945" height="4000" width_o="2945" height_o="4000" data-src="https://freight.cargo.site/t/original/i/30eb975aa618e83ee23bf2e0282f04b90993b4a7f4a4de43d1f52c95f51afb31/11_Friedman-Pappas.jpg" data-mid="112658080" border="0" src="https://freight.cargo.site/w/1000/i/30eb975aa618e83ee23bf2e0282f04b90993b4a7f4a4de43d1f52c95f51afb31/11_Friedman-Pappas.jpg" /> <img width="2209" height="3000" width_o="2209" height_o="3000" data-src="https://freight.cargo.site/t/original/i/0ed3f214ce9e296457e11c738d102d404dfa0f0c7aabae5a14eca30646101f35/47.jpg" data-mid="112661222" border="0" src="https://freight.cargo.site/w/1000/i/0ed3f214ce9e296457e11c738d102d404dfa0f0c7aabae5a14eca30646101f35/47.jpg" /> CITY FULL OF STICKS, GRAPHITE, AND COLORED PENCIL ON PAPER, 2020 <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/7890875a03308fbfa637891f1b3ee940c380461880ad280d3d33f0131b4600d6/33.jpg" data-mid="112653543" border="0" src="https://freight.cargo.site/w/1000/i/7890875a03308fbfa637891f1b3ee940c380461880ad280d3d33f0131b4600d6/33.jpg" /> CITY FULL OF STICKS 2, BRICK, FOUND OBJECT, AND PLASTIC SEQUIN, 2020 <img width="2000" height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/3444c404002afcefaf1b181dd3da60821fbf3db0d5802d372b85677397e2437c/8.jpg" data-mid="112653518" border="0" src="https://freight.cargo.site/w/1000/i/3444c404002afcefaf1b181dd3da60821fbf3db0d5802d372b85677397e2437c/8.jpg" /> <img width="2000" height="3000" width_o="2000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/adb48b6e3ab09f47896142b9707d80da512618fc4d891edab9755ccec14da40d/City_Soil_Detail_02.jpg" data-mid="112658479" border="0" src="https://freight.cargo.site/w/1000/i/adb48b6e3ab09f47896142b9707d80da512618fc4d891edab9755ccec14da40d/City_Soil_Detail_02.jpg" /> 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 <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/aa4964998f540af5fa7295cf24319648fa259af7651d8761e52d01e4e3fba7da/Scale_Figure_1_01.jpg" data-mid="112658263" border="0" src="https://freight.cargo.site/w/1000/i/aa4964998f540af5fa7295cf24319648fa259af7651d8761e52d01e4e3fba7da/Scale_Figure_1_01.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/374895706c10f234f611fd323b107a8e09256144a9691a060074d9b2a2651623/5.jpg" data-mid="112653515" border="0" src="https://freight.cargo.site/w/1000/i/374895706c10f234f611fd323b107a8e09256144a9691a060074d9b2a2651623/5.jpg" /> SCALE MODEL FIGURE 1, DOG BONE, FOUND PLASTIC TOY, HIDE GLUE, SAND, AND PRAYING MANTISES, 2020 PRESS&nbsp;➞ Victoria Campbell, “The Surplus in Being: On Sophie Friedman-Pappas’ post-consumer practice &amp; 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 <img width="5577" height="7983" width_o="5577" height_o="7983" data-src="https://freight.cargo.site/t/original/i/763edd3068ae456e41910620d0b3176ec98886da94f5ee8428cb7836f3d9fda1/081A9206.jpg" data-mid="127966027" border="0" src="https://freight.cargo.site/w/1000/i/763edd3068ae456e41910620d0b3176ec98886da94f5ee8428cb7836f3d9fda1/081A9206.jpg" /> <img width="4874" height="7021" width_o="4874" height_o="7021" data-src="https://freight.cargo.site/t/original/i/ee9a375ada410c0620adbc49c15852a28348910de6b1cd46e088a65a0fbe3f76/081A9217.jpg" data-mid="127966375" border="0" src="https://freight.cargo.site/w/1000/i/ee9a375ada410c0620adbc49c15852a28348910de6b1cd46e088a65a0fbe3f76/081A9217.jpg" /> <img width="7787" height="5439" width_o="7787" height_o="5439" data-src="https://freight.cargo.site/t/original/i/40a4a78bf023f9aa5be6c93f9ad921a97460eba935762cfc0d74bbb52eed11ee/081A9218.jpg" data-mid="127966376" border="0" src="https://freight.cargo.site/w/1000/i/40a4a78bf023f9aa5be6c93f9ad921a97460eba935762cfc0d74bbb52eed11ee/081A9218.jpg" /> 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 <img width="2001" height="3000" width_o="2001" height_o="3000" data-src="https://freight.cargo.site/t/original/i/fba880291e0140a6d63ed87405e4d106cbbe89fe9eb9c579040cc95d975c5dab/Broken_SFP.jpg" data-mid="124135219" border="0" src="https://freight.cargo.site/w/1000/i/fba880291e0140a6d63ed87405e4d106cbbe89fe9eb9c579040cc95d975c5dab/Broken_SFP.jpg" /> <img width="2765" height="3456" width_o="2765" height_o="3456" data-src="https://freight.cargo.site/t/original/i/db55c9fb58d37ea82a62e4fbac02f9217e191a046dcd79c8bbc364b332244a24/Detail_03.jpg" data-mid="124135808" border="0" src="https://freight.cargo.site/w/1000/i/db55c9fb58d37ea82a62e4fbac02f9217e191a046dcd79c8bbc364b332244a24/Detail_03.jpg" /> <img width="2765" height="3456" width_o="2765" height_o="3456" data-src="https://freight.cargo.site/t/original/i/2db987e328f08302bb1e0c1faa17cd7345a27cac072460e5d85c4d8c7a0e0d25/detail_05.jpg" data-mid="124135757" border="0" src="https://freight.cargo.site/w/1000/i/2db987e328f08302bb1e0c1faa17cd7345a27cac072460e5d85c4d8c7a0e0d25/detail_05.jpg" /> <img width="4977" height="7282" width_o="4977" height_o="7282" data-src="https://freight.cargo.site/t/original/i/9d03f5f128c3f2b5fdabcdd92188d79dcb5b7d358544aac936bce59fc04ac579/081A9223.jpg" data-mid="127965170" border="0" src="https://freight.cargo.site/w/1000/i/9d03f5f128c3f2b5fdabcdd92188d79dcb5b7d358544aac936bce59fc04ac579/081A9223.jpg" /> 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 https://sophiefriedmanpappas.com/INFO Sat, 03 Nov 2018 16:07:15 +0000 Sophie Friedman-Pappas https://sophiefriedmanpappas.com/INFO SOPHIEFRIEDMANPAPPAS@GMAIL.COM INFO@PAULSOTO.NET PAUL SOTOCV https://sophiefriedmanpappas.com/NAME Fri, 17 Nov 2023 17:26:58 +0000 Sophie Friedman-Pappas https://sophiefriedmanpappas.com/NAME SOPHIE FRIEDMAN-PAPPAS