Patte Loper

Patte Loper

  • Exhibitions and Projects
    • Salt Marsh Deep Time Study Center (Institute of Contemporary Art at MECAD) 2023
    • Laboratory for Other Worlds (Bellevue Arts Museum) 2022
    • Laboratory for Other Worlds (Mattress Factory) 2019
    • Quiet Country (Platform Gallery) 2021
    • Brooklyn Queens Expressway Reimagination Plan: Native Plant Viewing Station (Children's Museum of Manhattan) 2019
    • Visit to a Small Planet (Clay Center for the Arts and Sciences) 2017
    • Sparkly Darkly (Black and White Gallery and Project Space) 2017
    • Seeking Higher Ground (Suyama Space) 2016
    • Power Exchange Unit (Drawing Center) 2015
    • After Lebbeus, A Model for Drawing (Drawing Center) 2014
    • Collaborations
      • Bright Ecologies
      • Pupazetti
      • Empathy and Craft in the 21st Century (National Gallery of Jordan)
      • Temporary Structures and Home Communities
      • Structure in a Fertile Landscape
    • Your Rivers, Your Margins, Your Diminutive Villages (Ithaca College) 2014
    • Paint Collection Platform (Millay Colony) 2013
    • Untitled Worktable: A Plea for better Leaders in the Form of Automatic Sculpture (Platform Gallery) 2013
    • Archipelago (LMCC) 2012
  • Painting
    • Painting 2019-2024
    • Painting 2014-2018
    • Painting 2009-2013
    • Painting 2003-2008
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Psychic Corporeal Map: Hell
2020-2022
Oil paint and graphite on hand-stitched canvas designed to folded
60” x 63.5”

These psychic, corporeal cemetery maps were made to visualize the idea of “body territory:” that communal burial sites can be thought of as an extension of the human body. These are maps of All Faith’s Cemetery in Queens, NY that are rendered as psychic geography, seeing each place on earth as both completely unique, and equally important - along with its individual configurations of plants, animals, and spirits. This place contains multiple, concurrent timeframes and spatial realities that flow from one to another. To translate this cosmological space into Christian lexicon: these maps could be read in the same way as Hieronymus Bosch’s alter piece, “The Garden of Earthly Delights,” as simultaneously representing Heaven, Earth, and Hell.