Earning a BFA in 1968 from Chouinard Art Institute, Los Angeles, Corse developed her initial work during the emergence of the Light and Space movement in Southern California. Throughout the 1960s, she experimented with unconventional media and supports, producing shaped canvases, works with plexiglass, and illuminated boxes. In 1968, Corse discovered glass microspheres, an industrial material used in street signs and dividing lines on highways. Combining these tiny refractive beads with acrylic paint, she creates paintings that appear to radiate light from within and produce shifts in appearance contingent on their surroundings and the viewer’s position.

This exhibition in Palo Alto comprises three large-scale paintings, two freestanding light boxes situated on pedestals, and two hanging light boxes installed against the gallery’s walls. Suspended from the ceiling using monofilaments, these works are powered by Tesla coils that wirelessly transfer electromagnetic fields through the walls and allow the light boxes to hover in the exhibition space. Similarly, Corse’s use of microspheres in her paintings give viewers the impression that the canvases are lit from within as they refract light from different angles depending on the viewer’s position. The Inner Band and Multiband paintings in this exhibition shapeshift as viewers move around them, with vertical bands disappearing and reappearing from various points of view.

Titled Mary Corse: Painting with Light, the presentation includes more than 25 large-scale works by the artist, who explores geometry and light in her practice. Works in the exhibition span Corse’s pioneering six-decade-long career, highlighting the ways the artist has pushed abstraction to new frontiers.

Among the bodies of work on view in the show are the White Light and Black Light paintings, Black Earth clay-based works, and Corse’s iconic argon Light Boxes, which the artist first created in the 1960s as part of her investigations into varied effects and experiences of light. In much of her work, Corse contemplates perceptions of and reactions to light.

The Long Museum’s exhibition, which is one in a series of recent institutional presentations spotlighting Corse’s achievements and contributions to art history, also features new paintings by the artist. The six new works are presented in the show as part of the artist’s White Inner Band paintings series.

“I’m not interested in painting coming from thought,” Corse told the art magazine Apollo in 2018 on the occasion of her Whitney Museum retrospective. “Thought is finite, thought is the past. By the time you have the thought, it’s over, behind you. It’s more about intuition and feeling.”

A review in art agenda magazine states:

    Djurberg's work usually consists of shocking stories of nightmarish illusions. Her intriguing pieces often find spectators dumbfounded, trying to fully grasp the hellish imagery they witness. The dividing cell animation aspect of this piece refreshingly breaks away from Nathalie’s previous works of claymated terror. This original "sloppy" style of claymation Djurberg adapts brings light to the idea of what conceptually would change if her animations were more realistic and elaborate. This is the conversation Djurberg keeps open by creating barbaric images with a touch of simple, almost-childish construction. The concept of The Black Pot presents an idea that without a doubt every artist has come across a multitude of times in their career- where do my ideas, my inspiration, my motivation originate from? From where do all things derive?  It is important to continue conversation about existence to inspire not only artistic but scientific exploration on the matter. 

In my opinion, light is a work of art that adorns dark spaces. In a completely dark room, the only spot of light will present the color, volume, outline, and structure of light as a visual maximization.

If the video of immersive art is my drawing board, then the light can be the brush for me to create and draw freely on the drawing board with colors.

In a popular sense, I like to use light to paint in a completely black space.

The video has an atmosphere presented by the contrast of light and shadow, and is more vivid and flexible, allowing better interaction with the audience.

Upcoming solo exhibitions include:

All Things Fall, The Bomb Factory Foundation Marylebone, London, UK (April – May 2023)
Mat Collishaw, M77 Gallery, Milan, Italy (June – July 2023)
Mat Collishaw, Borusan Contemporary, Istanbul, Turkey (Sept 2023 – July 2024)
Mat Collishaw, Shirley Sherwood Gallery, Kew Gardens, London, UK (Oct 2023 – April 2024)

Recent solo exhibitions include:

The Machine Zone, Tatintsian Gallery Dubai, UAE (2022)
Equinox, Terra – The Sustainability Pavilion, Expo 2020, Dubai, UAE (2021-2022)
The Adoration of the Mystic Lamb, St Nicholas’ Church Korenmarkt, Ghent, BE (2020-2021)
Mat Collishaw, Djanogly Gallery, Lakeside Arts, Nottingham, UK (2020-2021)
The End of Innocence, Fundació Sorigué, Lleida, ES (2019-2020)
The Nerve Rack, Ushaw College, Durham, UK (2019)
Deep State of Rapture, (with Mustafa Hulusi), Page Gallery, Seoul, KR (2019)
Dialogues, Presented by Fundació Sorigué, Villanueva Pavilion, Real Jardín Botánico, Madrid, ES (2019)
The Grinders Cease, Blain|Southern, Berlin, DE (2018-2019)
The Mask of Youth, Queen’s House, Royal Museums Greenwich, London, UK (2018)
Standing Water, Galerie Rudolfinum, Prague, CZ (2018)
The Centrifugal Soul, Castle Howard, Yorkshire, UK (2018)
Thresholds, National Science and Media Museum, Bradford, UK (2018)
Thresholds, Yapı Kredi Kültür Sanat Yayıncılık A.Ş, Istanbul, TR (2018)
Night Hunter, Robilant + Voena, St. Moritz, CH (2018)
Albion, Gary Tatintsian Gallery, Moscow, RU (2018)
Thresholds, Somerset House, London; Birmingham Museum and Art Gallery, Birmingham; Lacock Abbey, Wiltshire, UK (2017)
The Centrifugal Soul, Blain|Southern London, UK (2017)
Fountains Relief, Fountains Abbey & Studley Royal, North Yorkshire, UK (2016)
Mat Collishaw, The New Art Gallery Walsall, UK (2015)
In Camera, Library of Birmingham, UK (2015)
Black Mirror, Galleria Borghese, Rome, IT (2014)
This Is Not An Exit, Blain|Southern, London, UK (2013)
Mat Collishaw, Bass Museum of Art, Florida, US (2013)
Mat Collishaw, Pino Pascali Museum Foundation, Bari, IT (2013)
Mat Collishaw: Afterimage, Arter, Istanbul, TR (2013)
Magic Lantern, The Victoria and Albert Museum, London, UK (2010)

Recent group exhibitions include:

London Calling. British Art Today. From David Hockney to Idris Khan, Fundación Bancaja, Valencia, ES (2021); UnNatural History, Herbert Art Gallery & Museum, Coventry, UK (2021); Fairy Round, Tate Britain, London, UK (2020-2021)

24/7 A WAKE-UP CALL FOR OUR NON-STOP WORLD, Somerset House, London, UK (2019); Silences, Musée Rath, Musée d’arts et d’histoire, Geneva, CH (2019); Fire: Flashes to Ashes in British Art 1692-2019, Royal West of England Academy, Bristol, UK (2019); Le Laboratoire de la Nature, Le Fresnoy, Tourcoing, FR (2019); In the Shadow of Forward Motion, Zabludowicz Collection, London, UK (2019)

Through The Looking Glass, COB Gallery, Camden, London, UK (2018); Beyond 2001, Espacio Fundación Telefónica, Madrid, ES (2018); Enchanted Garden, Laing Art Gallery, Newcastle, UK (2018); NGORONGORO II, Lehderstrasse 34, Berlin, DE (2018); Il Terzo Giorno, Palazzo del Governatore, Parma, IT (2018)

J.F.Millet, retrospective, Millet – USA, Palais Beaux-Arts, Lille, FR (2017); We Are Not Alone, Athr Gallery, Jeddah, SA (2017); Enjoy (curated by Danilo Eccher), Chiostro del Bramante, Rome, IT (2017); Dominion, New Media Gallery, New Westminster, CA (2017); Nature Morte, Contemporary artists reinvigorate the Still-Life tradition, Guildhall Art Gallery, London, UK (2017); Mirror Mirror, Museum of Contemporary Design and Applied Arts (MUDAC), Lausanne, CH (2017); Luther and the Avant-Garde, Altes Gefägnis, Wittenberg, DE (2017); Nature Morte, Contemporary artists reinvigorate the Still-Life tradition, Muzeum Narodowe, Wrocław, POL (2017); Creating the Countyside, Compton Verney, Warwickshire, UK (2017); Glasstress, Boca Raton Museum of Art, Florida, US (2017); Naturalia (curated by Danny Moynihan), Paul Kasmin Gallery, New York, US (2017)

Highlanes Gallery, Drogheda, IE (2016); On the Origins of Art, Museum of Old and New Art (MONA), Hobart Tasmania, AU; Les Photaunales 2016: LOVE STORIES, Beauvais, Le Quadrilatere, Paris, FR (2016); Ron Arad’s 720°, Singapore International Festival of the Arts, The Meadow, Gardens by the Bay, Singapore, SG (2016); Festival of Images, Vevey, CH (2016); Curtain Call, Roundhouse, London, UK (2016); Daydreaming with Stanley Kubrick, Somerset House, London, UK (2016); Sculpture in the City, London, UK (2016), I Prefer Life, Weserburg Museum fur Moderne Kunst, Bremen, DE (2016); Nature Morte, Contemporary artists reinvigorate the Still-Life tradition, Konsthallen-Bohusläns Museum, SE (2016); A Weed is a Plant out of Place, Lismore Castle Arts, Co. Waterford, UK (2016); SerpentiForm, Museo di Roma, Rome, IT (2016)

Na wspak (ciała i ogrody), 9th Biennale of Photography, Arsenal Municipal Gallery, Poznań, PL (2015); SUBSTANCE (2015) Timothy Taylor, London, UK (2015); L’inconscient pictòric (the pictorial unconscious), Museu Nacional d’Art de Catalunya (MNAC), Barcelona, ES (2015); In Search of the Miraculous, Newlyn Art Gallery, Penzance, UK (2015); SNAP, Art at the Aldeburgh Festival, UK (2015); Nature Morte, Contemporary artists reinvigorate the Still-Life tradition, Hå gamle prestegard, NO (2015); Gallery of Wonder, Northumberland; Woodhorn; Powburn; Spittal; Falstone; Alwinton; Newcastle, UK (2015); Glasstress 2015 Gotika, Istituto Veneto di Scienze Lettere ed Arti, Palazzo Franchetti, Venice, IT (2015); NGORONGORO – Artist Weekend, Studiobuildings, Lehderstrasse, Berlin-Weissensee, DE (2015); “The time … and there was time”, from Helga de Alvear Collection,Fundación Helga de Alvear, Cáceres, ES (2015); Rack ‘em Up: British Contemporary Editions 1990 – 2000, Shapero Modern, London, UK (2015); The Omnivore’s Dilemma: Visualized, University of Connecticut Contemporary Art Galleries, Mansfield, UK (2015); How to Construct a Time Machine,MK Gallery, Milton Keynes, UK (2015)

Fashion and Art, Bass Museum of Art, Miami (2014); Back to Eden, Museum of Biblical Art, New York (2014); Victoriana, The Guildhall Art Gallery, London (2013); GLASSTRESS:White Light/White Heat: Contemporary Artists & Glass, collateral Event of 55th Venice Biennale, Venice (2013); About Caravaggio (curated by Anna Imponente), Museo Tuscolano – Scuderie Aldobrandini, Frascati Rome (2012); 720°, as part of Ron Arad’s Curtain Call Project, The Israel Museum, Jerusalem (2012); Made in Britain, Contemporary Art from the British Council Collection, Benaki Museum, Athens (2012); Out of Focus: Photography, Saatchi Gallery, London; Otherwordly – Optical Delusions and Small Realities, Museum of Arts and Design, New York (2012); The 12th International Istanbul Biennial, Istanbul, TR (2011).

Collishaw’s work is in several public collections including; Arter Foundation, Istanbul, TR; Art Gallery of New South Wales, Sydney, AU; Artphilein Foundation, Vaduz, LI; British Council Collection, London, UK; Centre Georges Pompidou, Paris, FR; Fondazione Sandretto Re Rebaudengo, Turin, IT; Galleria Civica d’Arte Moderna, Turin, IT; Hiscox Collection, London, UK; Hortensia Herrero Foundation, Valencia, ES; IMMA, Irish Museum of Modern Art, Dublin, IE; Manchester City Art Gallery, Manchester, UK; Marguiles Collection at The Warehouse, Miami, US; Murderme, London, UK; Museum Huis Marseille, Amsterdam, NL; Museum of Contemporary Art, San Diego, US; Museum of Old and New Art, Hobart, Tasmania, AU; National Galleries of Scotland, Edinburgh, UK; Olbricht Collection, Berlin, DE; San Francisco Museum of Modern Art, US; Fundació Sorigué, Lleida, ES; Tate, London UK; The David Roberts Art Foundation, London, UK; Zabludowicz Collection, London, UK; 21c Museum, Louisville, US