Michele Abeles


Transparencies, 2013
archival pigment print, oil on museum glass
38 5/8 x 29 in/ 98.1 x 73.66 cm


3-Way, 2013 
2 archival pigment print, 1/16 inch plexiglas 
36 1/8 x 27 in/ 91.8 x 68.6 cm 


Coaches, 2013 
archival pigment print triptych 
63 1/8 x 91 1/2 in/ 160.3 x 232.4 cm



Not So Optimal, 2012
archival Pigment Print, 27 x 37.125 in/ 68.58 x 94.297 cm 


Re:Re:Re:Re:Re:Re:Re: , 2012

Leef, 2012

English for Secretaries, installation view at 47 Canal NY, April – May 2013


Reverse Wallpaper, 2012
pigment print w/clear film overlay

Young-Girl, 2013 
archival pigment print , 32 x 24 in/ 81.3 x 61 cm 

Silk robes making motherboards in Oceania, 2013
Archival Pigment Print Mounted on Custom Colored Plexiglass 
46.75 x 34 in/ 118.7 x 86.4 cm


Plant, Hand, Paper, Fly, Table, Lines, Numbers, 2009
archival Pigment Print, 26 x 31 in/ 66.04 x 78.74 cm

Pot, Paper, Hand, Lines, Numbers, Table, 2010
archival Pigment Print, 26 x 31 in/ 66.04 x 78.74 cm

Pitcher, Paper, Arm, Scuba, Lycra, 2011
archival Pigment Print, 26 x 31 in/ 66.04 x 78.74 cm 


from the series Caught in a Secret Histories:

8th of April
21st of December, A.M
6th of April
1st of January

all images courtesy of the artist

MICHELE ABELES produces highly complex pieces involving a process in perpetual motion and modulation. She shoots models, uses gels over lenses, is no stranger to the Google image search, synchronizes different elements in Photoshop, and is experimenting with clear film run through inkjet printers (a process similar to that used commercially for product displays). The result is a vertiginous spatial dislocation—and since we have become so moored to our system of understanding the world through photographs, a kind of rupture or confusion about whether we are supposed to be attracted or repulsed, comforted or confronted, by the collapsed spaces and aggressive cuts that ABELES makes across her surfaces*.

For ABELES pictures are by no means static entities. Rather they should be viewed as dynamic formations in constant flux. Her work abandons the rigid symbolic order of things in favor of a constant circulation of images and changing angles of vision.

I never work by variations. Formal developments have never appealed to me. My photos each fill a hole—what I think of as the hole of the unfamiliar or even the hole of the unknown. I’m not really interested in any endgame discussions. – MICHELE ABELES in discussion with KERSTIN BRÄTSCH*

Good news: her work is currently part of the group exhibition Speculations on Anonymous Materials at Fridericianum in Kassel, Germany (on view until February 23, 2014).

comments are closed !