Jude Tallichet

cast Forton, cast acrylic foam, internal armature, pigments, 2018, 35” x 183” x 70”

Heat Map is cast from a sprawling trunk on a New York City street in Queens. In NYC and the five boroughs, green space is fairly rare. The city began planting trees in areas of the sidewalk for urban beautification many years ago.  The trees have become huge, lifting the sidewalk up with their root systems, breaking the curbs and asphalt, demanding more space. Heat Map is colored with rare earth pigments and other stark particulates. The pattern running across this sculpture references the heat maps used to detail weather and climate. Through color and pattern, viewers are shown that green space is not just social, but necessarily political as well. As our climate continues to change, we strive to maintain what little plant-life we have, even in our bustling cities.

pigmented cast forton, 2018, 50” x 30” x 24”

Cerebrus is cast from an amature taxidermy of a bobcat. True to form, Cerebrus rests a paw on a log-prop, setting the scene for a museum display. As it sheds its skin, viewers cannot tell if this three-headed bobcat is being destroyed or constructed. Colored with graphite and lichen-like pigments, Cerebrus appears as an animal-plant-mineral hybrid.

polyurethane, interior armature, 2018, 86” x 86” x 86”

Wriggle is a piece that is both playful and terrifying in its’ distortion of the body. It off-gases notions of mutilation, hasty repair, death and decay. However, despite in its mutation and demise, it manages to continue dancing through space with incredible color and joy.

This work has been exhibited in:

➜ Studio 10, Brooklyn, NY

cast aluminum, 2008, 7’ x 7’ x 10”

This is a cast of a trophy rug made from a bear that the artist’s grandfather shot in Alaska in the 1950’s. It is monumental in size, content, and materiality. This mirrors the significance of the original rug, which was often tripped over by family members. In its silver iconic state, it reaches a new level of hyper-presence.

This work was exhibited in:

➜ Sara Meltzer Gallery, New York, NY

➜ South Hampton Art Center, Southampton, NY

➜ Pierogi Gallery, Leipzig, Germany

➜ Santa Barbara Contemporary Arts Forum, Santa Barbara, PA

Washed is a silicone cast of a partial leg meeting a partial dress meeting a partial root system. The swirl of the dropped dress cloth feeds into the chaos of the roots, eventually meeting the flat, bent leg.

pressed aluminum foil, aluminum armature, 2016, 49" x 23" x 41"

Ghost Bike features two hauntingly-hollow, tin-can renditions of popular motorcycles. Motorcycles exist as symbols of American freedom and the open road. The shiny-chrome color of the bikes harkens back to their original, valuable forms. In contrast, the crumpled texture gives the bikes an average appearance, as if they’re someone’s wrapped-up leftovers.

cast aluminum, 2017, 39” x 32” x 32”

The legs are life casts from a nineteen year old woman and a fifty year old woman.  They seemingly sprout from the ground like a plant, with the cast coconut in the middle as a seed or stamen.  Originally cast as separate stories, these legs and coconut came together in 2017 when artist and friend Nora Chellew put them together to appear like a little ceremonial fire.

This work was exhibited in:

➜ Southampton Art Center, Southamptons, NY

forton and rubber, 2015, 11’ x 5’ x 1’

Arch is an eccentric arrangement cast from stacked crockery and vases. The image of the arch seems to embody our current national condition. This dynamic form is not an elegant swoop like the St. Louis Gateway Arch’s symbolism of the USA’s manifest destiny of the West, but rather a pinched, thwarted gesture resembling the failed test of a rocket’s flight. The sculpture’s implied trajectory ascends and immediately falls in a flourish of clattering color.

This work was exhibited in:

➜ Studio 10, Brooklyn, NY

aluminum industrial foil over aluminum armature and cast aluminum legs, 2017, 78” x 68” x 40”

Piano Forte undulates, crumples, and leaps off the ground. It exists as the wavy spirit of what a piano once was. Fine wood details from the original instrument are visible in crushed aluminum foil. Silver legs, flexed at the ankle, jut from the bottom of this shell, propelling the wild machine into the air.

This work was exhibited in:

➜ Milton Art Bank, Milton, PA

➜ SpringBreak Art Fair 2017, NYC

cast bronze, 2015, 4 ½” x 3 ½” x 1 ¾”

There are infinite definitions of beauty. Intuitive Proof strives to combine beautiful themes that seem diametrically opposite; physical beauty and conceptual beauty, fashionable beauty and mathematically beauty, beauty with cost value and intellectual beauty. Intuitive Proof is cast from a Christian Louboutin heel, known for its exlusive red heel. On the bottom of the casting, the theorem of Euler’s Identity is inscribed. According to mathematicians, Euler’s Identity is the “most beautiful” equation.

This work was exhibited in:

➜ 2015 Volta Art Fair, New York, NY

cast bronze, 2015, 7 ¼” x 6 ¼” x 1”

Record is a piece that seems to inquire about our writing habits. As a notebook, this piece references the object-ness of the written word. What merits a note scribbled on paper versus something digital? The fact that this piece is bronze also speaks to value and preservation. What do we memorialize or monumentalize? Furthermore, what implies use or use-value? The overturned open-ness of this piece makes it feel active and current. It is not closed and put away, it is an ongoing record.

This work was exhibited in:

➜ 2015 Volta Art Fair, New York, NY

cast bronze, 2014, 8’ x 5’ x 5’

This work is best described by a quote from the artist herself:

“Part of my own brick and mortar library suffered the peculiar fate of being crushed under its own weight: One day the old wooden bookcase into which I had piled all of the oversized art books and catalogs I have acquired in a lifetime of bibliomania simply imploded.  Pinned between a desk and a wall, however, the bookcase could not simply collapse into chaos.  The top shelves pancaked down onto the lower shelves one after another, compressing and distorting themselves under their own weight, bowing out the sides of the mutilated bookcase.  The result was sublime; a beautiful synthesis of life and death and knowledge and loss that came to me by accident.” — Jude Tallichet

This work was exhibited in:

➜ Gallery Diet, Basel, Miami

➜ Southeastern Center for Contemporary Art, Winston-Salem, North Carolina

➜ Columbus College of Art and Design, Columbus, Ohio

➜ Visual Art Center of New Jersey, Summit, NJ

bronze and grown crystals, 2015, various sizes

The Device Intelligence pieces are cast from iPhones. They are about mutations. They seem alien, ancient, new, lost… Almost as if they were pulled out of the bottom of the ocean with no clear origin story.

cast forton and cinder blocks, 2015, 192” x 91” x 60”

Relic shows the decomposition a 2002 Hyundai automobile. This car model was selected for its affordability and average-ness. The car shows no details of color; it is stark white like an ancient sculpture. The pieces of the car, hanging like flayed skin, hover above the ground, supported only by cinder blocks. The car itself appears crumpled, like paper. It seems that even if you put this vehicle back together, it would still crease and quiver, rippling like a flag in the wind or squeaking like rusty metal.

This work was exhibited in:

➜ Studio 10, Brooklyn, NY

cast bronze, cast forton, 2010-2014, 1:1 ratio to life

This series is part of a larger examination of post-apocalyptic imagery that includes a collapsed bookshelf and an installation that depicts the residue of a wild party. In the In this iteration of the series each piece of clothing, a pair of pants, a dress, a shirt, a bra, and a sock has been frozen in time at the moment a human stepped out of it and dropped it on the floor. Displayed together the pieces create a sense of an event just past that involved multiple participants. Just what happened, however, is open to conjecture. Is it (merely) the tired and uneventful end of a day’s work? More interestingly, was there an orgy? And even, are we witness to the immediate consequences of the Rapture? 

Installations of this work were exhibited in:

➜ The 2016 Sculpture Biennial in Borås, Sweden

➜ The Gund Gallery at Kenyon College, Ohio

➜ The Boiler: Pierogi Gallery, Brooklyn, NY

➜ Robert Miller Gallery, New York, NY

➜ Valentine Gallery, Queens, NY

➜ Volta Art Fair, NYC, 2015

cast bronze, 2015, each 4 1/2” x 2 3/8” x 3/8”

Personal Monuments memorialize ephemeral digital moments. Text is engraved onto bronze cast iPhones, broken and cracked. The words themselves are not from “text messages,” but rather poetic quotes and insights.

This work was exhibited in:

➜ Studio 10, Brooklyn, NY

➜ 2015 Volta Art Fair, New York, NY

construction lights, police lights, and zip ties, 2004, installation views

Winter Light was created for Socrates Sculpture Park in the winter of 2004. The installation enlarges Tallichet’s interrogation of installation art, demanding its renegotiation outside the gallery space. While installed, this piece might be seen from across the river in Manhattan. It filled the entire space of Socrates with light, creating an environment of mysticism. While there are relatively few ways to startle New Yorkers, the presence of "emergency" lights can alarm most anyone.

This work was exhibited in:

➜ Socrates Sculpture Park, Long Island City, Queens

cast bronze, 2015, various sizes

The “Monument IDs” series includes Monument ID and Monument ID Lean. Both pieces reference documentation, and the papers we carry around; be it money, identification cards, passports, medical information, insurance data, etc. How do we prove we are embodied beings? What do we need to register ourselves as belonging to a place? How do you describe the privilege of being able to carry a “skinny” wallet or money clip? How do our every day objects become part of our life practice?

This work was exhibited in:

➜ 2016 Borås International Sculpture Biennal

➜ 2014 Volta Art Fair, New York, NY

cast bronze, 2008, 25” x 35” x 75”

Dr. Freedman’s Psychiatric Couch was cast from the artist’s father-in-law’s office therapy couch. The casting captures the indentations of the various patients who were analyzed by the medical father-in-law, Dr. Freedman, who believed he could understand the nature of evil.

This work was exhibited in:

➜ Sara Meltzer Gallery, New York, NY

fabricated plastic, 6 channel audio, speakers, dimensions variable

Listen to Left 1

Listen to Left 2

Listen to Left 3

In Left, a composed dynamic musical score accompanies this body of work, creating an eight track musical arrangement with lyrics taken from a variety of well known manifestos and artists’ writings (among them: The Biotic Baking Brigade Manifesto, The Black Panther Party Platform, Valerie Solanas’s SCUM Manifesto, Ivan Chtcheglov’s Formulary for a New City, The Unabomber Manifesto, Dogma 95, Vow of Chastity, as well as the words of R. Buckminster Fuller, Richard Serra, Agnes Martin and Louise Bourgeois.) Each of the eight architectural structures presented possesses its own unique voice and professes its own idea of social change. Like a cast in a play, each iconic structure embodies a symbolic role. Fabricated in ivory sandblasted plexiglas, the sculptures exist as a variety of utopian architectural icons: the geodisic dome, the teepee, the yurt, and the dymaxion, taken from a variety of sourcebooks (Mail Order Homes, How to be Your Own Architect, Woodstock Handmade House, and Shelter) as well as personal photographs of Woodstock. These utopian shelters, like the statements that emanate from them, vary wildly in the clarity of their thinking and in the practicality of their execution, but they share the same desperate commitment to the idea of social change, and (within their own rules of engagement) improvement. They live on the cusp of the exciting instant when change seems inevitable. 

This work was exhibited in:

➜ Sara Meltzer Gallery

➜ The Busan Biennale, Busan, South Korea, 2002

Listen to the sound from There’s Honey on the Moon

There’s Honey on the Moon is a large-scale architectural sound installation that pre-figured 9/11. The sandblasted plastic sculpture consists of two conjoined models of the Empire State Building, accompanied by three smaller “souvenir versions” of the 11-foot original.  Six speakers hidden in the 11-foot tall work broadcast 20-minute loops of original music performed and composed by Tallichet. The romantic and energetic sounds of the metropolis emanate from the sleek and minimal edifice of these life-size miniatures, or monumental models. These changes turn the reproduced icon into a tangible memory of itself.

The speakers are positioned at three levels, each broadcasting a distinct mix of instrumental and vocal music.  Two voices, one male, the other female, act as the soul or humanizing element of the sleek structure as they trade compliments; “You are wonderful,” says one; “You are fantastic,” answers the other. The twinning of these towers and the flattering refrains they repeat present a mirrored image which serves to reiterate the monumentality of this preeminent icon.  

This work was exhibited in:

➜ Galeria diArte Moderna, Bologna, Italy

➜ Goteborgs Konsthall, Goteborgs, Sweden

➜ Selected by Paul Quiñones, Tirana, Albania

➜ Sara Meltzer Gallery, New York, NY

a part of the permanent collection of The Phoenix Art Museum

cast bronze Jerry cans

Part of the Survival Series

This work was exhibited:

➜ Basel Miami Art Fair

➜ Burnett Gallery, Minneapolis, MN

cast bronze fluorescent tubes, 2006

Could Have Been a Revolution takes a fragile object and further solidifies it in archival bronze. This preservation rips the objects of their purpose; namely to provide light. Instead, they glimmer and shine, a simulacrum of their original model.

This work is in the collection of the Denver Art Museum

This work has been exhibited in:

➜ Sara Meltzer Gallery

➜ Basel Miami Art Fair

➜ Burnett Gallery, Minneapolis, MN

fabricated plastic, 6 channel audio, speakers, 2002, dimensions variable

Listen to the audio from All Star

Six of the most famous towers in history, recreated in sandblasted Plexiglas, emerge in marching band formation from a field of multihued glass marbles: the Leaning Tower of Pisa, the Eiffel Tower, the Chrysler Building, the Bank of China, the Space Needle, and the Trylon and Perisphere, a pair of structures built for the New York World’s Fair of 1939. With the exception of the Leaning Tower of Pisa, the oldest structure represented, the structures are built on a super-human scale, towering over the viewer like a champion basketball team. 
Each tower acts a speaker and possesses its own sound. Together they are arranged to create a drum corps. Individually, the structures are worldly iconic embodiments of their respective cultures. Collectively, they symbolize an idealistic vision of ideas and art flowing freely between cultures. All-Star asks whether today’s monuments will become tomorrow’s ruins and if our varied methods of communication will turn into future legend.

This work was exhibited in:

➜ Sara Meltzer Gallery, New York, NY

➜ The 2002 Shanghai Biennale, Shanghai, China

Cast Bronze, Plaster, Wallpaper 2007

Installation Variable

This installation humorously resembles the aftermath of a bacchanal. A pile of cast bronze muffins are shoved into a corner, candles have burned down, insects are circling, a table of bread is piled high with leftovers. A giant white bed or hot-tub cover sits in the middle of the space.

This work was exhibited in:

➜ Sara Meltzer Gallery

➜ Burnett Gallery, Minneapolis

Fabricated Plastic, Light and electrical fixtures

8 x 11 Feet

The work is a fabricated drum-kit that is turned upside down forming a chandelier/spot light. The cymbals float like halos up and down the object. The piece exists in the crazy space between the introduction of a song and the dropping of the beat, a space of expectation and transcendence, well known and banal in our daily lives, yet still magical and thrilling every time.

The work was exhibited:

➜The Sculpture Center, Long Island City, NY

➜John Michael Kohler Art Center, Wisconsin

➜Art Basel Miami

Life size heads

I created these from masks of famous historical, contemporary, and mythical creatures.

This work was exhibited:

➜ Sara Meltzer Gallery

2001, fabricated plastic, sound, tree is 10 feet tall x 5 feet wide, installation variable.

A coconut palm berates her small coconut in this two channel work. The small coconut, sitting upon its island, sings to itself as it tries to ignore the parent tree.

This work was exhibited in:

➜Sara Meltzer Gallery

➜The Margulies Collection, Miami, FL

Stainless Steel, 2008

Silicone Rubber, Wood, 2015

Work exhibited in:

➜Long Island University Humanities Gallery, Show Title: B19