Her process is rooted in her traversal of Philadelphia, in her collection and resurrection of found objects and memories, often likening organic forms in the cityscape to our bodies: both held tenuously, and subject to the encircling pressures of modern systems. There is a shifty logic applied to the objects she uses through her attempts to construct something physically unfamiliar yet already existent within the collective psyche. While her work possesses an uncanny, angelic quality, it also embodies the systems she references, and their by-products, shoddy barriers, and hypocriticalities. She applies care, repair, and automatism as methodologies, instinctually relating and tending closely to the desires of the objects she uses.
She is set on carrying the objects, (and by proxy, ourselves) past their (our) status as surplus matter, and into a new territory, where their (our) properties and histories empower them (us) to communicate in service of something larger.
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Upcoming exhibitions:
SOUL STAKE, Gray’s Warehouse, 3.20.26 - 4.17.26
opening reception: 3.20.26 7-11 pm.
Current exhibitions:
we call the moon the people’s wife, Pentimenti Gallery, 1.30.26 - 4.4.26
opening reception: 1.30.26 6-8 pm. artists’ dialogue 6-6:30 pm.
Recent exhibitions:
Huddle, Vox Populi Gallery, 11.7.25 - 12.14.25
RESIST, Huddle Gallery. 11.21.25 - 11.23.25
Routine & Alchemy, Icebox Project Space, 11.18.25 - 11.23.25
this too is a threshold, AUTOMAT, 11.1.25 - 11.29.25
surplus, Vox Populi Gallery, 9.5.25 - 10.12.25
Low-Tech, Huddle Gallery, 3.13.25 - 3.25.25
stand/still, Charles Addams Gallery, 4.4.24 - 4.13.24
Sports!, Charles Addams Gallery, 11.29.23 - 12.7.23
let me know you are alright, Project Ieerie, 7.28.23 -8.18.23
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Press:
34th St Mag, coverage for “we call the moon the peoples wife” Feb 2026
Talks/Panels:
Alumni Panel, Weitzman School of Design, Feb ‘26.
surplus Artist Talk. Oct ‘25. Link here.
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unless otherwise stated, all works herein are copyright of the artist & require written permission from the artist for reproduction. © catia colagioia, 2026.
beneath, 2026
15 x 10 in.
to go without, 2026
After Ernst Wilhelm Nay’s “Fisch & Muschel” 1932.
18 x 14 in.
When I first encountered Ernst Wilhelm Nay’s Fisch & Muschel, I was drawn to the suspension of the objects within fields of light and dark, and I began to consider the metaphoric weight of that suspension. Beyond the symbology of the objects themselves—the ammonoid shell and stick hovering above the light field, the mussel (with its feminine presentation) straddling both fields, and the fish, nearly rotting into a dark heap in the lower field—I found myself thinking about their dissolution, their beginnings and ends, but also, their universality, their ecstatic, enduring mythologies. I imagined a storm many years from now, its wrath unearthing exotic objects to a new people. The premise of this work is the absence of its subjects. We know why so many absences are felt... We know what happens to the mouths that cannot be saded... and we know that all new beginnings must first endure an end.
to come, to go, 2026
created to be affixed to collaborative painting by Aitor Lajarin-Encina for we call the moon the people’s wife.
4.5 x 2.5 x 1.5 in.
unity in captivity (three ducks together), 2025
8.25 in x 13.5 in.
the system, the structure, 2025
after audre lorde & michel foucault.
64.5 x 48 x 20 inches
the structure is in place, the motive is unclear. 2025
18 in x 14 in.
the system which defines good in terms of profit. 2025
after audre lorde.
18 in x 14 in.
touching the other side (it is the restraint), 2025
2.75 ft x 2 ft x 5.25 ft
other worlds (after Andrei Tarkovsky), 2025
8.5” x 9.5”
“we don’t need other worlds. we need a mirror.”
when the truth emerges, what must recede? 2025
7.5” x 13.5”