Christine Corday:
noisé magazine
Issue 6
Truth or Consequences
Christine Corday is featured in noisé Issue 06: Truth or Consequences, including a substantial visual feature and a new piece of prose, “The Sun Is The Way.” The spread threads Corday’s material language—pressure-built, time-based, and quietly monumental—through a text that reads like a material philosophy from a life spent tracking how matter becomes meaning. The feature includes works from Relative Points, a series that treats oxidation and density as both image and record. These surfaces don’t illustrate an idea so much as register duration: friction, weather, and the slow intelligence of materials.
In “The Sun Is The Way,” Corday writes from the inside of lived places—Seville, Tokyo, the American Southwest—where time is measured less by minutes than by temperature, shadow, and the tonal force of a day. Painting becomes a wider inquiry into conditions: heat, pressure, and elemental matter as the scaffolding of perception. A hinge point arrives in the desert—Truth or Consequences, New Mexico, and then Marfa—where Corday describes the art experience as something closer to a civic impulse: people gathering, walking, and paying attention together. From there, the writing opens into an expanded scale of thinking: the artist as a composer of material states, and the world as a shared, finite system—one “atomic clay” we keep reshaping. As Corday puts it: “The material is a plain language… the closest medium to working with truth.” It’s a concise description of what the work does at its best. It makes the abstract tactile, and it makes “truth” feel testable—through matter, time, and form.