“KNOUN itself is a form that is pulling and balancing in a way that’s a little unknown.” -Christine Corday

KNOUN reveals itself as a two-pillar Form sited by the body of the viewer in relation to the work. Spanning 13 feet in both height and length, the KNOUN explores the moment in between sensory perception and definition and investigates balance and gravity. Though sculptural, Corday approaches these Protoist Forms with the mentality of a painter using the heat of a plasma torch in place of the paintbrush. Protoist is a term coined by Corday describing the intermediary state between the known and the unknown—the suspension of a moment between sensory perception and definition.

The 14th Street Bridge is a historic closed-spandrel arch bridge built in 1921 recently renovated into a pedestrian bridge and highlighted by the WC Bradley Riverfront Place project.

The bridge crosses over the Chattahoochee River connecting Columbus, Georgia to Phenix City, Alabama. Pedestrians will encounter the work as a permanent installation on the Columbus Georgia side of the 14th Street Bridge. The installation of this Protoist Form to note is one between material and geographic states.

There is a history of Protoist works within relic infrastructures such as UNE––Corday’s first sculpture at the New York High Line 508 W. 25th Street in 2008. KNOUN was previously included within the solo museum exhibition Protoist Series: Selected Forms at Los Angeles County Museum of Art (2014-2015).

The installation of KNOUN was overseen and organized by WC Bradley as part of the Riverfront Place development project.

Christine Corday engages a material-based practice that interrogates the evolving human scale of perception and fundamental forces. Working with temperature, tangible states, and elemental metals as well as self-invented media, Corday often collaborates with international scientists and engineering organizations to develop her distinctive forms. Corday’s compositions are materially informed and informing, heightening awareness of perceptual bias as well as broadening sensory engagement with touch and the indexical register of memory on their material surfaces. Other sculptural works explore the intimacy of shared public surfaces in a broad range of scales, and draw from studies in astronomy, cultural anthropology, chemistry, and phenomenology.

To learn more about Christine Corday, view her artist page.

To learn more about Christopher Grimes Projects, view our about page.