Situated in moments of slippage and interchange, my projects evidence the volatility of art objects, which are on one level, cash with which to trade and invest, and on the other, art—the mysterious objectification of reflection, imagination, desire, and promise. This varied, process-oriented practice demonstrates interest in the art object as trigger and emblem for forms of exchange. These exchanges are articulated by the production and circulation of hand-collaged bills representative of the exchange of formal qualities in a work of art for literal economic value. Others focus on display objects that result from participation and trade within a specific social network. Still others rely on personal invested usage as a form of inquiry into special powers and underground sources of fortune.
Peter Simensky’s work has been featured in a solo exhibition at the Museum of Contemporary Art San Diego, as well as in solo projects with the Swiss Institute of Contemporary Art, New York, Project Row Houses, Houston. He has participated in numerous group shows in US and International museums, institutions and galleries including Sculpture Center, Palais de Tokyo, NGBK Neue Gesellschaft für Bildende Kunst, Berlin the Elizabeth Foundation for the Arts, Socrates Sculpture Park, Andrew Kreps Gallery, Museum 52 and Harris Lieberman Gallery. He is a 2007 NYFA Grantee. He has participated in residencies at the Skowhegan School of Painting and Sculpture, DieuDonne Papermill in New York, Lower Manhattan Cultural Council, and Y Foundation in Berlin. His work has been featured and reviewed in the New York Times, Map Magazine and Time Out, NY among others. He is a graduate of Hunter College, CUNY and UC Berkeley.