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Michelle Lopez

She // Her // Hers

Interdisciplinary Sculptor and Installation Artist

Philadelphia, PA

Michelle, a Filipina woman with black hair tied back in a ponytail, wears a black shirt and a gold watch. One of her hands is raised with her fingers in her hair. She is standing in a room with a ceiling light and gray and white walls. She is smiling and looking to the side.
My research has taken a deep dive into multidisciplinary experiential installation that captures catastrophe on an epic scale. As I pluck the tension between the seeming-ephemerality of mass technology and the concrete materiality of human somatics, the work is emerging as a multisensory experience of vast and collective chaos imprinted onto the minute layers of each viewer’s physical body.”

Michelle Lopez is an interdisciplinary sculptor and installation artist. She explores feminist and race politics through the lens of a minority body — as a skin, a shell, a mirrored reflection, an object of desire, a protest. She processes the violence of recent American political events, beginning with 9/11 and going into our present global warfare and societal collapse. Her research and exploitation of industrial materials and technologies, exposes our finite societal systems by inverting cultural tropes through her process of building. She uses the body in space and performance to consider how global-scale violence impacts us somatically in profound but invisible ways. 

Recent solo exhibitions include: Ballast & Barricades, ICA Philadelphia (2019–20) and Commonwealth & Council, LA (2023). Two-person and group exhibitions include Ballroom Marfa, Texas (2024); CCA Wattis Institute, San Francisco (2025); and the Institute of Contemporary Art, Los Angeles (2024). Lopez received a Guggenheim Fellowship in the category of Fine Arts (2019); Pew Center for Arts & Heritage Fellowship (2023 Exhibitions Fellowship and 2024 Artist Fellowship); and is represented by Commonwealth & Council, Los Angeles.

Lopez is an Associate Professor in the MFA Fine Arts Program at The Weitzman School of Design, University of Pennsylvania and leads the Sculpture Division.

Donor -The Knight Arts + Tech Fellowship is generously support by the John S. and James L. Knight Foundation.

This artist page was last updated on: 05.28.2025

Several large sculptures comprised of thin, long metal pieces of varying colors and lengths are suspended from the ceiling of a room with blank white walls and a high ceiling. On the right side of the image, a small wood structure is also suspended from the ceiling. In the center of the room, a person with black hair stands looking slightly up at the sculptures. The person wears a black top and black pants.

Installation view of Ballast & Barricades by Michelle Lopez, 2019–20. Steel, wood, rubble, scaffolding, and house fragment, variable dimensions. Installed at ICA Philadelphia.

Two sculptures comprised of tall rectangular forms, folded vertically in half and slightly wrinkled, lean side by side against the blank white wall of an empty space. The sculpture nearest to the viewer is made of a silver, reflective material. The sculpture beside it is made of white, matte material. Against the opposite wall leans a similar silver, reflective sculpture. Its blue folded interior is also visible.

Blue Angels by Michelle Lopez, 2011. Mirrored stainless steel, automotive paint, powder-coated aluminum, 2 × 3 × 10 feet.

A group of roughly half a dozen people in construction workwear and hardhats stand outside amidst a heaping pile of trash, trash cans, and a large particle board structure housing multiple industrial fans. Debris circles over the vortex of the fans and falls through the air all around while a videographer nearby captures the tumultuous scene.

Film shoot of tornado generator machine for Pandemonium by Michelle Lopez, 2024. 360-degree film for performance at the Franklin Institute Planetarium. Filmed at RAIR Philly.

Two sculptures stand in an empty room. In the foreground of a gallery space is a wooden platform holding various metal objects and wires. In the background is a collection of three industrial fans arranged in a circle and facing one another, with a canopy of white fabric draped from the ceiling above. On the back wall, a projected video is visible.

Installation view of PROCESS LAB by Michelle Lopez, 2024. Industrial fans, violists, screen fabric, paracord, animation, projection, speakers, subwoofer, microphones, amplifiers, mechanized platform in foreground (steel, 6 linear actuators, code, Arduino), and rubble, dimensions variable, 25 minutes. Installed at the Fabric Workshop in Philadelphia.