Christine Corday
[1] Corday's artistic approach consist of manipulation of matter into different states, producing massive sculptures that viewers are meant to experience through touch, leaving memories on the surface of her work.
[2] Her works are found in private international collections: Paris, Madrid, Dublin, Tokyo, Los Angeles, San Miguel de Allende, Dubai, Brussels, Washington DC, and New York City.
UNE began its international tour with a debut exhibition in Chelsea under the High Line, (November 7 – December 12, 2008; Curator: Beverly Allan), the Form "inspired local construction workers to make a three-inch steel effigy, which they gave to the artist as a present; what it will evoke elsewhere is anyone's guess.
AHN,[9] Corday's second work in the PROTOIST SERIES was installed in the corner of a 5,000 sq ft art space in Greenpoint, Brooklyn: Allan Nederpelt.
[10] The 300 pound carbon steel piece supports the juxtaposition of three visible dimensional planes, reminding its experiencer of the intersecting choices constructing reality and the impermanence/permanence of time and place.
Art reviewer Enrico Gomez spoke to AHN's "grounding resonance" saying, "It optically strums like an electric bass and has considerable gravitational pull.
The title of the Form fuses the meaning and pronunciation of the Greek root "epi" (upon) from the English words epicenter and epoch with the lost sound of Latin diphthong Æ.
The Form's torch-cut center plate is an abstraction of the figurative self as plateau or stair––standing on its plane shifts a single dimension of perception by 1 and 1/2 inches[13] thus acutely honing the senses to their most subtle realms––a quiet big bang, a floating grounded void, an intimate invitation to the unseen.
Corday's current works include a permanent abstract installation series entitled HELDAN as well as the production of a monumental outdoor form, INSTRUMENT FOR THE OCEAN TO PLAY, that harvests tidal power to create a low-frequency sound.
[20] Corday's five-year collaboration with ITER Directors resulted in ‘Art’ as the thirty-sixth and final global contributor with the installation of a single object within the infrastructure of the star.
The untitled two-pound work, Sans Titre, now sites in the repeated anonymity of shared material and measurement within ITER’s M30 Bolts––in permanent structural responsibility of the mega-heavy forms at the heart of the star: the Tokamak.
[23] On July 28, 2020, French President Emmanuel Macron hosted world dignitaries from Germany, European Commission, China, India, Japan, Korea, Russia, and United States in celebration of the collaborative achievement with start of ITER Tokamak assembly.
[24] On October 28, 2024, Christine Corday was an invited keynote address at the 2024 Flagship Conference: Carbon-Free Cities: Climate Action in the Built Environment at the United Nations Headquarters in New York.
[31] Corday received the Edison Ingenuity Prize in Montreal, Canada, and has also won a number of international design awards for her patented glass bottle for The Republic of Tea.
