Putting a modern spin on the ancient art of mosaics, Michael Curry creates one of a kind wall sculptures for public and corporate settings, as well as private collections. Constructed with innovative, three dimensional techniques, these hand cut mosaics offer kinetic appeal, melding both color and shape. Luxe materials such as silvered glass and acrylic resin are incorporated as they are ideal for interplay with light and the exploration of color projection, reflection, and shadow. 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.
As a child, I was given a set of colorful Play Plax blocks. I would sit and create with the luminous, interlocking blocks 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 and the concept of self-similarity, many of my pieces begin by creating a single tessera and breaking it down into smaller units or recreating it multiple times to discover what pattern may emerge. Other times, equal distribution or simply random placement of tiles 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 colorful blocks did for me.