Cenotaph , 2019 Installation within Peter Halley’s HETEROTOPIA I Magazzini del Sale, Venice, Italy, The Academy of Fine Arts of Venice Curated by Gea Politi, Produced by Flash Art In conjunction with the 2019 Venice Biennale   Death itself (like eternity itself, or a table itself) is not bodily, but more a very quick switch (mostly metaphysical) which turns something off. It is quite eager to take part in a masquerade, a quid-pro-quo comic play passing for what it is not (for example, for something that exists even if it doesn’t (cf. Epicurus)). To render the game truly fantastic, towers, chapels, pyramids, and tombs are constructed, made of bronze, marble, wood, or other materials like bricks and stones, atoms and waves, pearls and eyeballs. Some call them monuments, others— toys.  ~ Excerpt of exhibition text by Elena Sorokina
       
     
  QUBE , 2019 Collaborative installation with Peter Halley Galerija Kula, Diocletian Palace, Split, Croatia  Qube is a collaborative installation by Lauren Clay and Peter Halley at Galerija Kula at Diocletian’s Palace in Split Croatia. Galerija Kula is located within one of the remaining watchtowers of the 4th Century Roman palace, built by Emperor Diocletian. The gallery is a single room with a tall groin-vaulted ceiling and stonewalls. For this installation, Clay designed a freestanding white and green marbled architectural structure located in the center of the space, and a marbled pattern covering the entire floor. Peter Halley's digitally printed “paintings” on gold foil fill niches on all sides of the structure.
       
     
  Windows and Walls , 2018 Solo exhibition at Asya Geisberg Gallery, New York, NY  Press:   Charity Coleman, ArtForum, Critic’s Pick, November 2018   Drew Zeiba, PIN-UP Magazine, January 2019   Steve Rivera, The Great Fires, December 2018   Chloe Valette, Husk Design Blog, November 2018   Art Viewer   Asya Geisberg Gallery is pleased to present Lauren Clay, “Windows and Walls”, a solo exhibition of sculpture, mounted on a wallpaper installation that covers the gallery walls. Previously featured in “Monochromatic” at AGG, Clay’s work has become increasingly complex, and in “Windows and Walls” the marbleized wallpaper and biomorphic sculpture intertwine visually and conceptually. Originating as white, textured twists on the angular rigidity and slickness of Minimalism, Clay’s sculptures adopt pronounced references to space, architecture, and the body, and add high color and detailed curlicues. In tandem, her wallpaper acquires a double layer of illusionistic yet improbable spaces floating on a background of seemingly never-ending undulating stripes of color. The artist’s process translates a small collage of hand-marbled paper into an immersive floor-to-ceiling environment. Using traditional marbling techniques that evoke antique books, Clay’s psychedelic patterns leap from elegant old-world decoration to contemporary, digitally scanned, and aggressively scaled work.  In this exhibition, a riddle of Escher-like patterns with quixotic spaces forms a backdrop for equally playful sculptures, which similarly vibrate between flat and illusionistic space. The viewer is asked to re-situate oneself continually – the sculptures fold and curve in rhythmic parallels, but also interrupt the gaze with cracks of bright color, and suggest openings or windows that force a point of view. In Clay’s universe, instead of a window into real space the negative spaces act as a frame for the wallpaper, frustrating the need for “here” and “there”. The sculptures hint at the physicality suggested by the wallpaper, whose architectural arches, columns, and possible edifices are nonetheless patently unreal. The ever more oneiric spaces - influenced by the architecture of Claude Costy, Le Corbusier, Aldo Rossi, or the drawings of Nathalie du Pasquier – turn the gallery into pathways through time, space, and scale.  The sculptures suggest orifices, dangling limbs, or undulating anemones, with colored details that could be petals, tongues, or wrought iron accents. Gravity of curvy flesh is felt, but so paradoxically is the rigidity of carved steps or medieval arrow-slit windows. Clay makes sure that we keenly sense the authority of the artist’s hand, whether in the roughly-grooved sculptures or the painterly poetics of pigment floating through water. The very idea of marbling – suggesting a stone’s striations via drops of paint on barely-there paper – shows the interplay inherent in Clay’s entire project – combining painting, sculpture, architecture, and design to re-envision their potential for spatial contrast, fantasy, and confusion.
       
     
  Field of the Knower , 2017 Philip J. Steele Gallery,  Rocky Mountain College of Art and Design, Denver, CO  From the press release: New York artist Lauren Clay presents a site-specific installation of monumental wall murals and biomorphic sculptures for the Philip J. Steele Gallery. Oscillating between rational geometry and illusionary psychedelic space, the wall installation creates an environment for the sculptures—biomorphic plaster forms which reference the human body and ancient Indian yogic texts.
       
     
  Reclining Colonnade , 2018 One New York Plaza, New York City Curated by Tom Kotik  From the press release: The imposing black colonnade that anchors the façade of One New York Plaza is the inspiration behind Lauren Clay’s latest installation  Reclining Colonnade.  Clay has re-imagined the reductive black columns freed of their burden. Instead they are colorful organic shapes that float aimlessly on an imaginary horizon. Utilizing the art of perspective and illusion in her printed vinyl works, she playfully fools the eye, revealing new aspects to the architecture we see every day and might take for granted. The fanciful floating columns transform One New York Plaza’s glass façade into a vibrant sky, full of imagination and possibility. It’s this simple gesture that can inspire us all to see the familiar in a new light.
       
     
  Shushumna , 2016 Pinnacle Gallery Savannah College of Art and Design, Savannah GA Curated by Alexandra Sachs
       
     
  The Cithara and the Aulos , 2016 Brooklyn Academy of Music, Brooklyn, NY Curated by Holly Shen  Press:  Mary Kate Pagano, Master Dynamic, Oct 2016   Inspired by the dueling instruments of Apollo and Marsyas, Lauren Clay’s vinyl wallpaper installation transforms the vaulted arches and doors of BAM’s Dorothy W. Levitt Lobby. Clay marbleizes paper using traditional techniques, floating paint on the surface of a liquid solution and manipulating it into various patterns. She then scans the finished product, digitally enlarging and manipulating sections before printing it as adhesive wallpaper. In this site-specific installation, spiraling waves seem to pulse back and forth in a twisting pas-de-deux with the existing architecture, creating a psychedelic feel for a historic space.
       
     
  Wavy Colonnade , 2018  Porthole Portico , Two-person exhibition with sculptures by Jaime Lee Bull and wall works by Lauren Clay Camayuhs, Atlanta GA  Press:  Katie Geha, ArtForum,Critic’s Pick, April 2018   E.C.Flamming Burnaway, May 2018    From the press release:  We are entering the regions of Dream. A time beyond history, where everyday life is imbued with mythology. Eat me - Glimpse a world existing outside of things known to the human spirit. Complicated rooms with stairs, ramps, windows, and secret doors. Sea like a mirror. See, well marked streaks of foam are blown along the direction of the wind. 13 is Shipwreck. Bridges and more stairs, leading to more rooms. Limitless. Never ending. Glittering abyss. This metaphysical world, nonexistent for us, this world beyond physical things, is the Porthole Portico.    Jaime Bull   splits her time between Atlanta and Athens. Bull looks to the ocean for inspiration. Her work walks a tightrope between Busby Berkley’s dazzling, synchronized choreography to conversely, falling off a Carnival cruise ship and drowning. There’s glitz, glitter and energetic dancing ladies but there’s also slumping, over-fed obesity and the futile treading of water. Bull received her MFA in Drawing and Painting from the University of Georgia, Athens in 2013. She is a recipient of the Willson Center for the Arts research grant for her thesis work Lady Beasts: An Investigation of Womanliness. She has exhibited in Atlanta with the Doppler Project, the Mint Gallery, the Mammal Gallery, Whitespace Gallery and at the Airport in Terminal E. Regionally, she has shown work at the University of North Georgia, Auburn University, and the COOP Gallery in Nashville. She is a Vermont Studio School Fellow and attended a two-month residency at the Bernheim Arboretum in Louisville, KY. She was featured in and on the cover of the 219th edition of Ambit Magazine, London. She currently teaches at the University of Georgia and is an Atlanta Contemporary Art Center Studio Artist.    Lauren Clay, originally from Atlanta, now lives and works in New York. Clay makes sculpture and large wall works. Her site-specific wall installations warp and manipulate space using digitally printed vinyl photos of handmade collages. Her sculptures, painted plaster reliefs, also address metaphysical interactions with architecture. She received her MFA in Painting from Virginia Commonwealth University, and BFA in Painting from Savannah College of Art and Design. She has had solo exhibitions at the Rocky Mountain College of Art and Design, Denver; Larissa Goldston Gallery, New York; Whitespace Gallery, Atlanta, and Savannah College of Art and Design. Her work has been included in recent group exhibitions at Asya Geisberg Gallery, New York; Patrick Parish Gallery, New York; and Sometime Salon, San Francisco. Clay’s work has been written about in the New York Times, Bomb Magazine, Art in America, and Sculpture Magazine. Her artist book, Subtle Body, published by Small Editions, is included in the library collections of The Metropolitan Museum of Art, The Whitney Museum of American Art, and The Brooklyn Museum of Art.
       
     
  Drishti , 2015 Solo exhibition at Grounds for Sculpture, Hamilton, NJ
       
     
  Quite Fairly Rather , 2015  A three-person exhibition, with sculptures by Carey Denniston, sound installation by Hanne Lippard, and wallwork by Lauren Clay.  Topless Gallery, Rockaway Beach, New York Curated by Jenni Crain and Brent Birnbaum   Press:   Art Viewer   From the press release: The tide rolls in and the tide rolls out. Taking with it the shifting planar remembrances upon which we used to stand. This transformation a translation of our longing.  Lauren Clay’s wallpaper works are spatial and sculptural. Illusionistic in form, they create a dialog between spatial perception and the transformation of collapsed space to three-dimensional space. Upon installation, the wallpaper appears to distort the gallery, naturally generating an idea of depth. The image comes from a traditional, analog process, which is repetitive but unpredictable. The works feel consequently disorienting in relation to the digitally produced images and graphics with which we are so accustomed.  Carey Denniston's  Untitled (Mats)  is an ongoing body of work (2014- present) composed of sculptures cast from used car floor mats. The casts combine crushed seashell and blackened plaster, and replicate the pattern and worn texture of the original found objects. The height of each cast is varied, scaled upwards of ten inches. With extruded shape and altered materiality the form resembles a tablet or tombstone - a sculpture oscillating between monumentalism and low commodity culture.  Hanne Lippard's practice explores the voice as a medium. Like all constructions of the mind, Lippard's work starts with the word. If the world appears to us in language, she is measuring its scale through words. The matter of words is what matters, though not as a matter of facts. Their sounds read out in rhyme and with rhythm—the use of the voice, capturing space in the world by measuring time, wanting to give body to time when time doesn’t have it.
       
     
 Collaborative installation with Peter Halley, 2017 Paradise City, Seoul, South Korea
       
     
  Baba Yaga , 2018  Belladona, 2018 Group exhibition with paintings by Aliza Morrell, sculptures by Calli Moore, Roxanne Jackson, wall work by Lauren Clay Curated by Calli Moore
       
     
  Drishti , 2015 Installation at Regina Rex / (harbor) gallery
       
     
  Hootenanny , 2009  Solo exhibition at Larissa Goldston Gallery, New York