Paintings and other 2D works are created to stand on their own as discrete objects, or to be incorporated into larger installation work.

Painting and Sculpture
Patte Loper Painting and Sculpture Oil on linen, model landscape
Mountains in Landscape
2018
Oil on linen, model landscape
Variable

Paintings are designed to stand on their own as discrete objects, or to be incorporated into larger installation work.
Patte Loper Painting and Sculpture
Sparkly Darkly, Installation View, Black and White Gallery, Brooklyn, NY
2017

In this exhibition, physical paintings served as ad-hoc building material in an intuitive weaving-together of various meditations on the politics of war, the climate crisis, and the difficulty of situating of the body in relationship to a devastated landscape.

Patte Loper Painting and Sculpture


Paintings helped develop the surrealist imagery that was used as a departure point to create a response to the current political moment.
Patte Loper Painting and Sculpture


Patte Loper Painting and Sculpture

Patte Loper Painting and Sculpture


Patte Loper Painting and Sculpture


Canvas stretchers serve as shelving for still life objects, which in turn become subjects for painting.
Patte Loper Painting and Sculpture Suyama Space photos by Mark Woods
Seeking Higher Ground, Suyama Space, Seattle, WA
2016
Suyama Space photos by Mark Woods

These paintings, Still Life With Percival I & II, are based on drawings of the Channels of Mars by Percival Lowell. Lowell, a noted American astronomer, put forward that these channels were evidence of life on Mars. When no further evidence of these channels was ever found, it was surmised that Lowell was drawing the back of his own cornea superimposed on the planet by a fluke of Lowell's telescope.

Patte Loper Painting and Sculpture


These paintings were used to forge connections between the built forms, the human body, and the impossibility of "universal" knowledge from a disembodied perspective.
Patte Loper Painting and Sculpture


Drawings on mylar, oil paintings on canvas, and sculptural objects were layered to create unexpected interplays between 2D and 3D perspectives.

Patte Loper Painting and Sculpture

Patte Loper Painting and Sculpture


Patte Loper Painting and Sculpture
Structure for Ruining Paintings
2014

In this large-scale structure, gallery-wall paint is directed through channels onto oil-on-canvas paintings.
Patte Loper Painting and Sculpture


The structure was built in response to the mountainous terrain around Ithaca, New York, where this work was built and exhibited.

Patte Loper Painting and Sculpture


The paintings were created "en plein air" in the woods surrounding the gallery's site in Ithaca, New York.
Patte Loper Painting and Sculpture


Patte Loper Painting and Sculpture

Patte Loper Painting and Sculpture


Patte Loper Painting and Sculpture

Patte Loper Painting and Sculpture
Structure for Ruining Paintings
2014

Patte Loper Painting and Sculpture
At the Resdency
2014
Patte Loper Painting and Sculpture


Patte Loper Painting and Sculpture

Patte Loper Painting and Sculpture


Patte Loper Painting and Sculpture
Science Museum
2013

This work was created as the model for the painting Pieces of What.
Patte Loper Painting and Sculpture Oil on canvas
Pieces of what
2013
Oil on canvas
36" x 48"

Patte Loper Painting and Sculpture
Studio Set Up
2012

The oil on canvas paintings, They Eat Each Other, Thinking They Are Eating Leaves I & II shown with the model they are based on
Patte Loper Painting and Sculpture Graphite on paper
Getting Large Eye
2014
Graphite on paper
9" x 12"

Drawings often form the basis of animations, which are then placed into sculpture on small screens. This is an animation still created as part of After Lebbeus: A Model for Drawing

Patte Loper Painting and Sculpture Graphite on paper
Getting Large Eye
2014
Graphite on paper
9" x 12"

Animation still created as part of After Lebbeus: A Model for Drawing. This animation was imbedded into the structure at various points and at different sizes. Responding to the emphasis on visuality, as well as the bodily qualities of Woods' drawings, this animation, based on what can be seen through closed eyes during meditation, explores the relationship between human physiology and spiritual 'visions'.
Patte Loper Painting and Sculpture Graphite on paper
Getting Large Eye
2014
Graphite on paper
9" x 12"

Animation still created as part of After Lebbeus: A Model for Drawing

Patte Loper Painting and Sculpture


After Lebbeus: A Model for Drawing was built in response to paper architect Lebbeus Woods' posthumous 2013 exhibition at the Drawing Center. My aim is to underscore Woods' exploration of ethics, human psychology, and the built form. The animated video, Getting Large Eye was placed at different vantage points in the installation.
Patte Loper Painting and Sculpture


The video was intended to highlight the form's connection to the human body.

Patte Loper Painting and Sculpture


The video was placed on small screens viewable from different angles in the gallery. This work is designed to take advantage of the aesthetics of working technology, including the line quality of wires.