Jesse A. Greenberg

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Continents, 2010 Plastic, Pigment, Plywood 113" X 96" © 2010 Jesse A Greenberg
Invitation station, 2008 Plastic, Rubber, Foam, Plexiglass, Acrylic, Mylar, Vinyl, Styrene, Electrical Lighting 7'x4'x3' © Jesse A Greenberg
The Framer, 2010 Sawdust, Gel Medium, Wood 6'x3'x4' © jesse a greenberg
Cavity Pool, 2010 Sugar, Plastic, Pigment 4"X3"X3" © jesse a greenberg
Stretch Fram Prop for Extra-Necessary Movement, 2010 Lycra Fabric, Wood 6'x3'x1" © jesse a greenberg
Component 2, 2010 Plastic, Pigment 2.5'x2'x1" © jesse a greenberg
Body Scan 7 Resin, Pigment, Painted Steel Frame 59 X 45.5 X 3.5 In. © Courtesy of the Artist and ltd los angeles
Quick Facts
morristown, NJ
Birth year
Lives in
New York
Works in
New York
Columbia University, 2011, MFA
RISD (Rhode Island School of Design)
plastic, interactive, touch, colorful, resin, rubber, light, dance, body, visceral, fluid, plexiglass mixed-media installation, video-art, performance, modern, digital, conceptual, sculpture, exhibition/performance

Jesse A. Greenberg is best known for his works in plastics, which push the material beyond it’s perceived limits. Often interactive or touchable, his visceral sculptures exist along side a larger body of work that incorporates video, dance and collaborative music and performance. Greenberg was born in Morristown, NJ. His work has been exhibited throughout the U.S. and abroad, and has been mentioned in such publications as The New York Times, and The Philadelphia Weekly. He received his BFA from The Rhode Island School of Design and is currently an MFA student at Columbia University where he lives and works in New York City.



My sculptural work is a material reaction to the immateriality of our immersive digitized lives. Most of my works in plastic push the material beyond its perceived limit. Plastic is the representative material of the consumerist, throwaway society, a tactile substance that passes through our fingers on a daily basis, delivering necessities in packaging, and as shell casings for our technologies. My work brings visceral form to a seemingly lifeless material. Through a type of abstract alchemy I mix the liquid chemical components in a free-form way rather than in a mold. Long synthetic tendrils and drips begin to appear as veins and tendons, but also as wires and networking maps. The resulting wall pieces, small sculptural objects, and body-scale monuments occupy a space between furniture, architecture, painting, and design. They suggest functionality without purpose, and become a record of play between my control and the nature of the material.