CHRISTOPHER COREY ALLEN
SELECTED PERSONAL WORK
christophercoreyallen@gmail.com





Il Re del Terrore/ Diabolik
2024
Plaster, pigments, glue, pewter alloy, honeycomb wax
and oil, polyurethane elastomer
19 x 24 x 4.25 inches



           Finocchio, Either The World Kills Me or I Kill It
          2024
          Plaster, pigments, glue, pewter alloy,
          honeycomb wax and oil, polyurethane elastomer
          24 x 17.5 x 4.25 inches



                No sooner had he made it then it began to grow.
                And it grew, and grew, and grew until in a few minutes
                it had become an immense nose that seemed it would never end.

               2024
               Polyurethane elastomer, pigments, pewter alloy, aluminum
               71 x 27 x 8 inches
          




BEAM ME UP TOTO, THIS PLANET SUCKS!
2024
Plaster, pigments, glue, pewter alloy,
honeycomb wax and oil,  polyurethane elastomer
21 x 22.5 x 4.25 inches



CHOMP! CHEW! It Was A MANS right arm and it had been BAKED/ Dr. Delicada’s Elixir of Love
2024
Plaster, pigments, glue, pewter alloy,
honeycomb wax and oil, polyurethane elastomer
18.5 x 22.5 x 4.25 inches



  As Above, So Be Low
  2024
  Plaster, pigments, glue, pewter alloy, aluminum,
  honeycombwax and oil, hair, polyurethane elastomer
  71 x 27 x 44 inches



Who Do You Think They’re Fooling: You?
Essex Flowers, New York New York
June 28 - July 28, 2024


Who Do You Think They’re Fooling: You? was a solo exhibition at Essex Flowers gallery that featured a series of inlaid scagliola tablets, a traditional art form using plaster and pigment to mimic stone marble. I used this labor-intensive process to create forms resembling Rorschach tests. Mining the matrix language of DIY punk t-shirts, each tablet intertwines images and language from a diverse set of sources, spanning pop culture, biological motifs, opera, Italian fumetti comics, and queer histories. These tablets act as speculative gateways, combining historical and contemporary references to explore the complex interplay of biopsychosocial and broader cultural forces.

Alongside this work was the 3 channel installation
Rubber Room/ I AM A FORCE OF THE PAST (see above)