b. 1970 Laurel, Maryland, U.S
Christine Corday engages a materials practice as artist with the evolving
human scale of perception and fundamental forces. She works with temperature, material states, elemental metals as well as creates further medium often in artist-led collaborations with international scientists and science organizations. In solo exhibitions, Protoist Series: Selected Forms,
Los Angeles County Museum of Art (Los Angeles, CA; 2015), UNE, High Line (New York, NY; 2008) and upcoming Relative Points, Contemporary Art Museum Saint Louis (Saint Louis, MO; 2019) works suspend between material states provoking more conscious moments between sensory stimuli and definition. Corday's compositions are materially informed and informing; allowing awareness of perceptual bias as well as broadening sensory engagement with touch and the indexical register of memory on their material surfaces. Other works explore the intimacy of shared public surfaces in range of measurement from the commissioned 25,000 pound GENESES (San Francisco, CA; 2018) to the several gram work GRAVITY (Southern France; 2020). Following an astrophysics internship at NASA/SETI (Moffett Field, CA; 1991), Corday created Foundation Civilization (Seville, ES; 2000) for projects exploring the intersections of Art and Science such as Instrument for the Ocean to Play (2001). In Spain, Corday formulated a black pigment color later selected by Architect Michael Arad as the
touch-focused color for the National September 11 Memorial (Ground Zero, NY; 2011) which Corday and an assistant applied by hand through a heated application. Corday founded her work studios in Tokyo, Japan (1999-2000); Seville, Spain (2000-2004); Greenpoint, Brooklyn (2005-2008); and Hudson Valley, New York (2008-Current). She lives in New York with her husband Christopher and their dog Willy.
Corday was nominated for the United States Artist Fellow in 2016.
Christine Corday [also known as CORDAY G 1999-2005] has diverse interests in the fine arts as well as the sciences. Her entrance into art and science was years of classical training at the piano. In 1991 before receiving her B.A. in Communication Arts, she wrote an original research paper which led to an astrophysics internship at NASA Ames Research Center on a SETI extrasolar planetary project under Principal Investigator Dr. Laurance Doyle. She later continued her academic studies with courses in Cultural Anthropology from Washington University. From 1992–1999, she worked as a graphic and structural designer for several international Advertising agencies including Wieden & Kennedy, Tokyo; Bartle Bogle Hegarty, London/Tokyo; and SKUzzio Design, Saint Louis.
During this time she received an Edison Ingenuity Prize in Montreal, Canada as well as international design awards for her patented glass bottle for The Republic of Tea. Corday was selected for a Short Story prize in 2000 from Francis Ford Coppola’s fiction magazine Zoetrope and was finalist in the 2005 Fence Modern Poet Prize.
Corday devoted full-time to painting in 1999/2000 and began her studio abroad in Tokyo, Japan for one year and then to an attic loft above a flamenco bar in Seville, Spain for three years where she began the large-scale sound and tidal energy project: Instrument for the Ocean to Play. Her years in Spain forced her palette to black, creating works that later would be seen as blueprints for her future sculptures. She made her own paint mulling raw pigment and charcoal into a synthetic polymer base to create a tar-like substance and fabricated tools for its application to raw linen and canvas.
Upon her return to the States in 2005, she moved to Greenpoint, Brooklyn and began the large metal alloy Forms of her Protoist Series: impossible scale torch-cut works focusing on temperature, different material states of elemental metals and the somatosensory effect of touch with Abstract form. In 2008 she debuted her first Protoist Form, a three-ton steel work entitled UNE, under the New York City High Line at 508 W 25th Street with Curator Beverly Allan. She continued to place new Protoist Forms in the following years as intimate public encounters in the city.
In 2010-2011, as seen in History Channel’s “Making of the 911 Memorial” and Discovery Channel’s “Rising: Rebuilding Ground Zero”, Architect Michael Arad and the Memorial Committee selected Corday’s black iron oxide color for the National September 11 Memorial at One World Trade Center, New York City as overseen by KC Fabrications: Fabricator and Installer of the Memorial’s Bronze Name Parapets. For nine months, she and her assistant applied her blackening color and technique over the 15,000 square feet of the Memorial for its opening on September 11, 2011.
Corday’s works are in private collections worldwide: Paris, Madrid, Dublin, Tokyo, Los Angeles, San Miguel de Allende, Dubai, Brussels, Washington DC, and New York City. With her affinity for architects and architecture, her painting PROME was acquired by the collection of Skidmore, Owings & Merrill LLP’s San Francisco office, overseen by Partner Craig W. Hartman as well as painting THAHLES acquired by the Richard Meier Collection for 165 Charles Street, New York City.
Corday’s first solo museum exhibition, PROTOIST SERIES: SELECTED FORMS, presents at the Los Angeles County Museum of Art (LACMA), under CEO and Wallis Annenberg Director Michael Govan; Terri and Michael Smooke Chief Curator of Contemporary Art Franklin Sirmans; and assisting Curator Holly Harrison. Sponsored by Lannan Foundation. December 13, 2014-April 5, 2015.
Corday completed Public Art commission FJORWARD  for Peekskill Landing at the Hudson River, New York and Public Art commission by New York University  as well as awarded the large-scale commission of GENESES by the City of San Francisco to install Summer 2018 on Howard and 4th Street
In 2016, Corday was nominated for the United States Artist Fellow. Upcoming exhibitions include solo show with the Contemporary Art Museum, Saint Louis; a group exhibition at the Lannan Foundation [with Siah Armajani, Michael Heizer and Fred Sandback] as well as upcoming installation at the Los Angeles river.
Corday is also currently in art and science collaborations with ENBIO [Dublin, Ireland] utilizing their Solarblack pigment for the ESA solar orbiter derived from same source as used in cave paintings. She also is working with ZYBECK [Boulder, Colorado] on a new series of works. She will be the first artist to use their USGS/NASA tool replicating the heat and energy of meteroic impacts.
She lives in New York with her husband Christopher and their dog Willy.