New York


Gallery Lok

With a personal symbology comprised of potatoes, high heels, white satin and silk, torn muslin, and brocade, Colette constructs art that is wearable, watchable, inhabitable, and, above all, accessible. Since the mid ’70s, she has performed in public spaces as institutional as a museum and as anarchic as the street. In the early ’80s, it was not unusual to come upon her en rituel in the corner of a nightclub dance floor or front-and-center in a trendy store window. Heavily rouged, her eyes nearly impacted with kohl, her hair piled exuberantly on her head under a tousle of trailing tulle, Colette is always easily recognizable—the only woman in the room in punk-formal 18th-century drag.

All of these landmarks of Colette’s multidisciplined career surfaced in her recent exhibition—a veritable salon warehouse of “Colettesized” paintings, products, installations, and fashion statements.

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