Marlo Pascual creates psychologically charged, photo-based sculptures and installations that undermine romantic notions of the photograph and hover in the interstice between image and object. Described by Art in America as using a “cool but uncynically nostalgic use of appropriation,” Pascual treats found photography like a readymade; an object whose purpose can be revived or recast through manipulation.
Working with vintage photographs culled from thrift stores and eBay auctions, Pascual enlarges, crops and re-stages the found images – often combining them with props such as modernist furniture, plants and lighting fixtures – to create uncanny minimalist domestic mise-en-scènes that play up the spatial and theoretical relationship between photography and sculpture.
Marlo Pascual (b. 1972, Nashville, Tennessee) completed her MFA at the Tyler School of Art in Philadelphia in 2007. Her work has been exhibited both in the United States and abroad, including solo exhibitions at the Aspen Art Museum, Aspen, CO (2010) and the Swiss Institute, New York (2009). Group exhibitions include Difference?, Dallas Museum of Art (2012); Midnight Party, Walker Art Center, Minneapolis (2011); Image Transfer: Pictures in a Remix Culture, Henry Art Gallery, Seattle (2010); and How Soon is Now, Garage Center for Contemporary Culture, Moscow (2010). Pascual’s work is represented in prominent public collections including the Dallas Museum of Art; the Museum of Contemporary Art, Chicago; the Walker Art Center; the Solomon R. Guggenheim Museum; and the Whitney Museum of American Art. She lives and works in Brooklyn and is represented by Casey Kaplan Gallery, New York.