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Medium

Petah Coyne’s elaborate sculptures, characterized by a Baroque sensibility and macabre subject matter, reference an array of subjects and themes including literature, the Southern Gothic, and Christian iconography. Composed of velvet, candles, birdcages, chicken-wire fencing, hatpins, feathers, vinyl, horsehair, taxidermy peacocks, mud, and sticks, among countless other materials, her works are richly tactile, and occupy a space between the beautiful and the grotesque. In Coyne’s massive installation, Untitled #1093 (Buddha Boy) (2001-03), for example, a Madonna figure stands amidst melted wax candles and pearls. She also produces ghostly photographs that depict blurred figures of Buddhist monks and children, and draws from her own biography and associations to create her work. “The harder you strive for perfection, the greater the flaws,” she has said. “What to me is most interesting is being able to open up your overcoat, be totally naked, cellulite and all.” Coyne’s sculptures and installations have been compared to the assemblages of Picasso, Schwitters, and Rauschenberg.

Established
Represented by industry leading galleries.
Collected by a major museum
Museum of Modern Art (MoMA)
Selected exhibitions
2021
Rhe: everything flows;Galerie Lelong & Co.
2018
Petah Coyne: Having Gone I Will ReturnGalerie Lelong & Co.
2016
Petah Coyne: A Free LifeNUNU FINE ART
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Untitled #1459 (Yoko Ogawa: The Memory Police), 2019

Black sand from pig iron casting, artificial feathers, acrylic polymer, paint, chicken-wire fencing, barbed wire, annealed wire, steel, cable, cable nuts, cable thimbles, quick-link shackles, jaw-to-jaw swivel, 3/8" Grade 30 proof coil chain, silk/rayon velvet, Velcro, thread, plastic
40 × 35 × 37 in
101.6 × 88.9 × 94 cm
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Location
Los Angeles
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Medium

Petah Coyne’s elaborate sculptures, characterized by a Baroque sensibility and macabre subject matter, reference an array of subjects and themes including literature, the Southern Gothic, and Christian iconography. Composed of velvet, candles, birdcages, chicken-wire fencing, hatpins, feathers, vinyl, horsehair, taxidermy peacocks, mud, and sticks, among countless other materials, her works are richly tactile, and occupy a space between the beautiful and the grotesque. In Coyne’s massive installation, Untitled #1093 (Buddha Boy) (2001-03), for example, a Madonna figure stands amidst melted wax candles and pearls. She also produces ghostly photographs that depict blurred figures of Buddhist monks and children, and draws from her own biography and associations to create her work. “The harder you strive for perfection, the greater the flaws,” she has said. “What to me is most interesting is being able to open up your overcoat, be totally naked, cellulite and all.” Coyne’s sculptures and installations have been compared to the assemblages of Picasso, Schwitters, and Rauschenberg.

Established
Represented by industry leading galleries.
Collected by a major museum
Museum of Modern Art (MoMA)
Selected exhibitions (3)
Other works from Forms Fired
Other works by Petah Coyne
Other works from Shoshana Wayne Gallery
Related works
Related artists