︎ Muriel Lisk-McIntyre

Muriel Lisk-McIntyre is a french-american artist, curator and researcher based in Berlin. Her practice explores the concept of collage, looking at in through paper but also in spaces and how it can be constructed and sculpted with objects, materials and shapes, through a process of placing, cut/past/edit.

Site specific installations, performative installation, analog and digital collage are ways in which her process manifests. To this extent, display and exhibitions are the medium she works with. This last point is why the curatorial has been introduced in her practice.

Having studied a double masters in Fine Art and History of Art (2016 - 2021), the place of theory and fine art experimentation are balanced out and play equal roles in her practice.

She has held researcher residencies at State of Concept Athens, and will be heading back to Athens to conduct furhter reserch on her curatorial projects at OKAY space, another project space in Athens.

Lisk- McIntyre is currently running her project space Cabinet, in an old underground metro information kiosk in U-Bahn 2, Sophie-Charlotte-Platz, Berlin.



Member of gr_und as a curator and artists (Berlin, January 2022 - present). Cabinet, U-Bahn 2, Sophie-Charlotte-Platz, Berlin.

Residencies: TAKT (Berlin, 2018), NSCAD (Halifax, 2019), Michaelis School of Fine Art (Cape Town, 2019).

Publishing: As part of Marie Jayne Chanel, the collective she runs with Claire McIntyre

Artist statement

My work responds to any given space it has the opportunity to inhabit. It is a mobile exhibition, created from my sculpture kit, curated by my eyes, taking shape on paper or in space. 

I see what the space has to offer, and question how that may affect my work. I then create accordingly to this environment. As I respond to a space, I reflect upon the dialogue created between a place that had once been, affected by historical shift, and the memory it hold, in relation to the fabricated space I create.

Collage has become the main method I use in my practice.  It is a record of my process, a reflection on where/how I am, a journal documenting the thoughts unfolding in my mind. With frequent travels, this is my method of keeping a record and capture moments of my life.

I assemble materials and forms of different aspect, such as vertical blinds, synthetic furs or used chairs, reminiscent of office, lobbies, waiting rooms. Although industrial, these everyday objects, from which emanates a lived experience, detach themselves from their inherent context. Alongside them, I place animal produce that I use to disturb them such as real furs, egg yolks or pork trotters. These objects and materials are signifiers of my work, to create ephemeral scenographies where I associate the degradable with the geometrically shaped and mass-produced objects.

Sculpture, installation, collage, placing, hanging. These are words that qualify my practice, but ultimately, it is about collage and sculpting to respond and create a space. I characterize space by placing object in it, I disrupt space by introducing the non-controllable object in it. There is an element of doubt, of unease that transpires through my work.
To this extent, I have been looking into Gilles Deleuze The Body without Organs, and Powers of Horror by Julia Kristeva. 


Interview with Art Is