Putting a modern spin on the ancient art of mosaics, Michael Curry creates one of a kind wall sculptures for public, corporate, and private collections. Constructed with innovative, three dimensional techniques, these hand cut mosaics offer kinetic appeal, melding both color and shape. Michael collaborates with curators, architects, engineers, and interior teams, to ensure that his works fit seamlessly into a unified design.
With his studio located in midtown Manhattan, the majority of Michael’s work is focused in New York City and surrounding areas, including works on permanent display in the Empire State Building and the lobby of the newly opened Jackson Park. Works on public display include the lobby of Miami’s East Hotel and the JW Marriott Marquis, and the lobby of the Luxe City Center Hotel in downtown Los Angeles. Michael’s works have been featured at MoMath: The National Museum of Mathematics and he has been a regular presenter at the Architectural Digest Home Design Show. His most recent solo gallery exhibition was at FXCollaborative, with past exhibitions at Gallery Plan B in Washington DC, and Club H in Manhattan.
Originally from the Chicago area, Michael received his MFA from Florida State University/Asolo Conservatory and began his career in the New York theatre arena. After a 15 year span that culminated in a long running Broadway show, his creative journey yielded inspiration that steered him onto the visual arts path.
In the middle of the night, I was jolted awake by an epiphany to build a mosaic table that eventually became my workbench and the literal foundation of a joyful new obsession. That flash of inspiration prompted a career transition, taking me off of the Broadway stage and back to the “drawing board” of my early creative roots: As a kid, I was obsessed with my Play Plax blocks. I would sit and create with the luminous, interlocking pieces for hours, holding them up to the light, mesmerized by the way in which the shapes and colors could blend and morph. That same fascination is what drives my work today. The three-dimensional aspect employed in all of my pieces serves as a means to experiment with color transformation, reflection, and shadow. Glass has been the primary material for this exploration because of its reflective and translucent properties which are ideal for interplay with light. Another essential component of my work is repetition. Greatly intrigued by fractal geometry, many of my pieces begin by creating a single tessera and breaking it down into self-similar units or replicating it repeatedly to discover what patterns may emerge. Other times, repetition by way of equal distribution or even random placement is what guides the direction of a given piece. Whatever the approach, the ultimate goal remains the same: to create a hypnotic experience for the viewer, much as my childhood building blocks did for me.