Coleman Collins is an interdisciplinary artist, writer, and researcher whose work explores notions of diaspora in relation to technological methods of transmission, translation, copying, and reiteration. His most recent projects examine the connections between things-in-the-world and their digital approximations, paying particular attention to the ways in which real and virtual spaces are socially produced. Working across sculpture, video, photography, and text, Collins’ practice attempts to locate a synthesis between seemingly opposed terms: subject and object; object and image; original and duplicate; freedom and captivity.

Collins received his MFA from UCLA, Los Angeles in 2018 and was a 2017 resident at the Skowhegan School of Painting and Sculpture in Madison, ME. He participated in the Whitney Museum’s Independent Study Program in 2019. Previous exhibitions and screenings have taken place at Ehrlich Steinberg, Los Angeles, CA (2024); Herald St, London, UK (2024); Soldes, Los Angeles, CA (2023); the Palestine Festival of Literature, Jerusalem, IS/ Ramallah, PS (2023); Hesse Flatow, New York, NY (2022); Brief Histories, New York, NY (2022); Carré d’Art, Nîmes, FR (2022); Kunsthalle Wien, Vienna, AT (2021); Nothing Special, Los Angeles, CA (2020); Elizabeth Foundation for the Arts, New York, NY (2019); Artspace, New Haven, CT (2019) and Human Resources, Los Angeles, CA (2018). His work is in the permanent collection of the Hammer Museum, Los Angeles. Collins is a 2022 recipient of a Graham Foundation research grant and has received support from NYFA and Cafe Royal Cultural Foundation. He is currently Assistant Professor at University of California, Irvine.

Exhibitions
Display, 2024
Leveling, 2024
We'll Be Your Mirror for Condo hosted by Herald St, 2024
Atavism for the Future, 2023



Installation view. Display, 2024. Ehrlich Steinberg, Los Angeles. Photo: Evan Walsh.


Coleman Collins, The production of space I, 2024. Mylar transparency, light box, aluminum stand, 42 x 29 x 21 in. (106.7 x 73.7 x 53.3 cm). Photo: Evan Walsh.


Coleman Collins, The production of space II, 2024. Mylar transparency, light box, aluminum stand, 42 x 29 x 21 in. (106.7 x 73.7 x 53.3 cm). Photo: Evan Walsh.


Installation view. Leveling by Coleman Collins, 2024. Ehrlich Steinberg, Los Angeles. Photo: Evan Walsh.


Coleman Collins, Untitled (Minor concatenation), 2024. Engineered wood, UV print on Dibond, 30 x 23 in. (76.2 x 58.4 cm). Photo: Evan Walsh.


Coleman Collins, Untitled (Partial wall), 2024. Engineered wood, UV print on Dibond, 30 x 23 in. (76.2 x 58.4 cm). Photo: Evan Walsh.


Detail. Coleman Collins, Untitled (Partial wall), 2024. Engineered wood, UV print on Dibond, 30 x 23 in. (76.2 x 58.4 cm). Photo: Evan Walsh.


Coleman Collins, Inventaire, 2024. 6 inkjet prints, edition 1/3 + 1 AP, 14 x 50.5 in. (35.5 x 128.3 cm). Photo: Evan Walsh.


Detail. Coleman Collins, Inventaire, 2024. 6 inkjet prints, edition 1/3 + 1 AP, 14 x 50.5 in. (35.5 x 128.3 cm). Photo: Evan Walsh.


Coleman Collins, Specular fiction, 2024. HD video, 8 minutes, edition 2/3 + 1 AP. Photo: Evan Walsh.


Coleman Collins, Specular fiction, 2024. HD video, 8 minutes, edition 2/3 + 1 AP. Photo: Evan Walsh.


Installation view. We’ll Be Your Mirror, 2024. Condo London hosted by Herald St, London. Photo: Andy Keate.


Coleman Collins, Untitled (Herald St), 2024. Oil on engineered wood, UV print on Dibond, 23 x 30 in. (58.4 x 76.2 cm). Photo: Andy Keate.


Installation view. Atavism for the Future, 2023. Ehrlich Steinberg, Los Angeles. Photo: Evan Walsh.


Coleman Collins, Untitled (Entryway), 2023. Engineered wood, UV print on Dibond, 31 x 36 in. (78.7 x 91.5 cm). Photo: Evan Walsh.


Detail. Coleman Collins, Untitled (Entryway), 2023. Engineered wood, UV print on Dibond, 31 x 36 in. (78.7 x 91.5 cm). Photo: Evan Walsh.


Installation view. Virtual Volume curated by Patrick R. Crowley, 2023. Soldes, Los Angeles.


Coleman Collins, Untitled (Concatenation), 2024. Engineered wood, UV print on Dibond, 30 x 23 in. (76.2 x 58.4 cm). Photo: Evan Walsh.


Detail. Coleman Collins, Untitled (Concatenation), 2024. Engineered wood, UV print on Dibond, 30 x 23 in. (76.2 x 58.4 cm). Photo: Evan Walsh.


Installation view. Body Errata by Coleman Collins, 2022. Brief Histories, New York.


Coleman Collins, Mother, board, 2022. CNC-carved MDF, 25.5 x 19.75 in. (64.8 x 50.2 cm). Photo: Evan Walsh.


Detail. Coleman Collins, Mother, board, 2022. CNC-carved MDF, 25.5 x 19.75 in. (64.8 x 50.2 cm). Photo: Evan Walsh.


Coleman Collins, Sequential shift, 2022. CNC-carved MDF, 39 x 26 in. (99.1 x 66 cm). Photo: Evan Walsh.


Coleman Collins, Data self-portrait 2, 2022. Laser-engraved motherboard, 12 x 9.6 x 2 in. (30.5 x 24.4 x 5.1 cm). Photo: Evan Walsh.


Coleman Collins, Data self-portrait 2, 2022. Laser-engraved motherboard, 12 x 9.6 x 2 in. (30.5 x 24.4 x 5.1 cm). Photo: Evan Walsh.


Detail. Coleman Collins, Data self-portrait 2, 2022. Laser-engraved motherboard, 12 x 9.6 x 2 in. (30.5 x 24.4 x 5.1 cm). Photo: Evan Walsh.


Installation view. Body Errata by Coleman Collins, 2022. Brief Histories, New York.


Installation view. Body Errata by Coleman Collins, 2022. Brief Histories, New York.


Installation view. Post Performance Video, Prospective 01: Los Angeles, 2022. Carré d’Art, Nîmes.


Coleman Collins, Rêveuse, 2021. Engineered wood, 24 x 36 in. (61 x 91.5 cm).


Coleman Collins, The Anxiety of Incompleteness, 2020. HD Video, dimensions variable.


Coleman Collins, GuiltCoin, 2021. Video installation, financial instrument, performance.


Coleman Collins, Oneirocritica, 2020. Five-panel lightbox installation, dimensions variable.


Detail. Coleman Collins, Oneirocritica, 2020. Five-panel lightbox installation, dimensions variable.


Detail. Coleman Collins, Oneirocritica, 2020. Five-panel lightbox installation, dimensions variable.