Brendan Fernandes

  • In First, In Fifth, 2018, Ash wood with leather, performance score, and black carpet base, 48 ¾ x 24 ¼ x 21 ¾ inches. Installation at the Graham Foundation, Brendan Fernandes: The Master and Form in collaboration with Norman Kelly, 2018.

  • In Arabesque, 2018, Ash wood with leather, performance score, and black carpet base, 43 ¾ x 10 ¼ x 10 ¼ inches. Installation at the Graham Foundation, Brendan Fernandes: The Master and Form in collaboration with Norman Kelly, 2018.

  • In Passé, in Fourth, 2018, Ash wood with leather, performance score, and black carpet base, 80 x 42 ¼ x 28 ⅛. Installation at the Graham Foundation, Brendan Fernandes: The Master and Form in collaboration with Norman Kelly, 2018.

  • In Second, 2018, Ash wood with leather, performance score, and black carpet base, 6 x 72 x 1 ¾ inches. Installation at the Graham Foundation, Brendan Fernandes: The Master and Form in collaboration with Norman Kelly, 2018.

  • In Cambré à Terre, 2018, Ash wood with leather, performance score, and black carpet base, 50 ¾ x 62 ½ x 44 ¼ inches. Installation at the Graham Foundation, Brendan Fernandes: The Master and Form in collaboration with Norman Kelly, 2018.

  • As One IV, 2017, Digital print, 34 x 48 inches

  • As One I, 2017, Digital print, 40 x 52 inches

  • As One II, 2017, Digital print, 34 x 48 inches

  • As One III, 2017, Digital print, 34 x 48 inches

  • Installation view, The Language of Objects, Buffalo University Art Galleries, NY, 2017

  • Insiders I, 2017, Digital print, 30 x 22 inches

  • Insiders II, 2017, Digital print, 30 x 22 inches

  • Insiders III, 2017, Digital print, 30 x 22 inches

  • Insiders IV, 2017, Digital print, 30 x 22 inches

  • Insiders IX, 2017, Digital print, 30 x 22 inches

  • 1978.412.367, 2010, Neon on Plexiglas backing, with pink cord, 51 x 20 inches

  • 1979.206.143, 2010, Neon on Plexiglas backing, with purple cord, 35 x 30 inches

  • 1979.206.200, 2010, Neon on Plexiglas backing, with yellow cord, 34 x 26 inches

  • Installation view, Free Fall, 2016

  • Installation view, Free Fall, 2016

  • Installation view, Free Fall, 2016

  • Free Fall, 2016, 49 hand-pulled crystal coat hangers, 5 coat racks, dimensions variable

  • Free Fall, 2016, 49 hand-pulled crystal coat hangers, 5 coat racks, dimensions variable

  • Free Fall, 2016, 49 hand-pulled crystal coat hangers, 5 coat racks, dimensions variable (detail)

  • Support I, 2016, photo-collage and ink on paper, 25 x 19 in. (63.5 x 48.3 cm)

  • Free Fall I, 2016, cut-out photo, graphite and thread on paper, 8.5 x 11 in. (21.6 x 27.9 cm)

  • Free Fall II, 2016, cut-out photo, graphite and thread on paper, 8.5 x 11 in. (21.6 x 27.9 cm)

  • Free Fall IV, 2016, cut-out photo, graphite and thread on paper, 8.5 x 11 in. (21.6 x 27.9 cm)

  • Encounter, 2016, hand-blown glass, 20 x 8 x 6 inches (50.8 x 20.3 x 15.2 cm), white: 20.5 x 7 x 6 inches, black: 20 x 8 x 6 inches

  • No Body I, 2016, hand-blown glass, 18 x 8 x 5 inches (45.7 x 20.3 x 12.7 cm)

  • No Body II, 2016, hand-blown glass, 21.5 x 7 x 7 inches (54.6 x 17.8 x 17.8 cm)

  • No Body III, 2016, hand-blown glass, 20 x 9 x 5 inches (50.8 x 22.9 x 12.7 cm)

  • No Body IV, 2016, hand-blown glass, 21 x 9 x 7 inches (53.3 x 22.9 x 12.7 cm)

  • No Body V, 2016, hand-blown glass, 18 x 6.5 x 6 inches (45.7 x 16.5 x 15.2 cm)

  • No Body VIII, 2016, hand-blown glass, 18 x 7.5 x 7 inches (45.7 x 19.1 x 17.8 cm)

  • Free Fall, 2016, 49 hand-pulled crystal coat hangers, 5 coat racks, dimensions variable (detail)

  • Installation view, Free Fall, Monique Meloche Gallery.

  • Installation view, Free Fall, Monique Meloche Gallery.

  • Installation view, Free Fall, Monique Meloche Gallery.

  • Installation view, Free Fall, Monique Meloche Gallery.

  • Installation view, Free Fall, Monique Meloche Gallery.

  • Installation View, Contract and Release, 2019. Photo: Nicholas Knight. Copyright The Isamu Noguchi Foundation and Garden Museum, NY / ARS.

  • Master of Form II, 2019. Images courtesy of the Whitney Museum of American Art.

  • Brendan Fernandes, Kinbaku IV, 2019, cast bronze, leather, walnut, and steel, 64 x 24 x 22 inches.

  • Brendan Fernandes, Kinbaku Leg, 2019, cast bronze, leather, walnut, and steel, 74 x 28 x 18 inches.

  • Brendan Fernandes, Kinbaku II, 2019, cast bronze, leather, walnut, and steel, 63 x 23 x 23 inches.

  • Brendan Fernandes, Kinbaku Arm, 2019, cast bronze, leather, walnut, and steel, 75 x 32 x 18 inches.

  • Brendan Fernandes, Kinbaku I, 2019, cast bronze, leather, walnut, and steel, 63 x 21 x 20 inches.

Download CV

Press

CBC, (PDF)
11/15/2019 by Lise Hosein

Brooklyn Rail, (PDF)
11/2019 by Avram C. Alpert

Hartford Courant, (PDF)
10/2019 by Christopher Arnott

Informa, (PDF)
10/2019 by Holly LaRoche

The New York Times, (PDF)
06/28/2019 by Ted Loos

Artspace, (PDF)
06/28/2019 by Colleen Hochberger

ARTnews, (PDF)
05/28/2019 by Claire Voon

Frieze, (PDF)
05/20/2019 by Evan Moffitt

The New Yorker, (PDF)
5/13/2019 by Betsy Morais

Cultured, (PDF)
05/13/2019

Whitewall, (PDF)
05/06/19 by Eliza Jordan

The New York Times, (PDF)
02/25/19 by Jillian Steinhauer

The Brooklyn Rail, (PDF)
12/11/18 by Lori Waxman

L’Officiel Art, (PDF)
10/02/18 by by Timothy Latterner

Michigan Avenue Magazine, (PDF)
10/1/2018 by Heidi Mitchell and Stephen Ostrowski

Chicago Magazine, (PDF)
9/19/2018 by Kate Sierzputowski

Northwestern Now,(PDF)
9/13/2018 by Stephanie Kulke

NewCity Art, (PDF)
8/30/2018 by Elliott Reichert

Chicago Tribune, (PDF)
8/30/2018 by Lori Waxman

Chicago Tribune, (PDF)
8/30/2018 by KT Hawbaker

Friends of the High Line, (PDF)
07/24/2018 by Ted Kerr

Women and Performance,(PDF)
05/21/18 by Jen Kennedy

Newcity Stage, (PDF)
03/06/2018 by Sharon Hoyer

The Sound, (PDF)
03/01/2018 by Bart Gazzola

ASAP Journal, (PDF)
03/01/2018 by Soo Ryon Yoon

Forbes, (PDF)
01/31/2018 by Ann Binlot

Garage Magazine, (PDF)
01/29/2018 by Osman Can Yerebakan

PIN-UP, (PDF)
By Sean Santiago

Newcity Design, (PDF)
01/24/2018 by Philip Berger

The Architects Newspaper, (PDF)
01/23/2018 by Chelsea Ross

Sleek, (PDF)
Autumn 2017 by Will Furtado

Artforum, (PDF)
08/15/2017 by Wendy Vogel

Urban Glass Quarterly Magazine, (PDF)
Summer 2017 by James Yood

Frieze, (PDF)
07/13/2017 by Ian Bourland

Third World Thematics: A TWQ Journal, (PDF)
05/10/2017 by Sharday Mosurinjohn

Buffalo Rising, (PDF)
04/18/2017

The Argonaut, (PDF)
03/29/2017 by Christina Campodonico

OUT Magazine, (PDF)
03/01/2017 by Madison Moore

Performance is Alive, (PDF)
02/28/2017

Forbes, (PDF)
01/19/2017 by Ann Binlot

Palliate Blog, (PDF)
01/17/2017 by Brad Fiore

Canadian Art, (PDF)
07/21/2016 by Nicolas Brown

The Wall Street Journal, (PDF)
05/12/2016 by Andy Battaglia

The Creator’s Project, (PDF)
03/10/2016 by Antwaun Sargent

Forbes, (PDF)
07/29/2015 by Ann Binlot

The Huffington Post, (PDF)
06/24/2015 by Priscilla Frank

The Seattle Times, (PDF)
06/19/2015 by Gayle Clemens

Studio Magazine, (PDF)
Winter/Spring 2015/16 by Dana Liss

BOMB Magazine, (PDF)
04/15/2014 by Jess Wilcox & Wendy Vogel

Journal for Contemporary African Art, (PDF)
Fall 2012 by W. Ian Bourland

Art in America, (PDF)
05/06/2011 by David Everitt Howe

Artforum, (PDF)
05/01/2011 by W. Ian Bourland

Canadian Art, (PDF)
04/07/2011 by Pandora Syperek

Toronto Star, (PDF)
08/01/2010 by Murray Whyte

Exhibitions at moniquemeloche

Restrain, November 2- December 21, 2019

Free Fall, January 7 – January 28, 2017