Lat-Am & Caribbean Celebration Exhibition
Group Show at The Townhouse Gallery (Stamford, CT)
September 4 – October 3, 2025
Curated by Valeria Ochoa in celebration of the beauty, resilience, and creativity of the Lat-Am & Caribbean diaspora
cult of personality (2025)
golf ball (found on a dog walk, Stamford, CT); framed nativity scene (inherited, paternal grandparents); towel (used); wooden plank (inherited, dad’s garage, Stamford, CT); pillowcase (found on a walk with a friend, Manhattan, NY); partial picture frame (used); acrylic (purchased); canvas (purchased); canvas (used); wood panel (purchased)
12×46”
…From Inside The House
Group Thesis Show at ArtCake (Brooklyn, NY)
July 5-26, 2025
MFA Art Practice and ArtCake present the MFA Art Practice thesis exhibition, “…From Inside the House,” featuring work by 2025 program graduates Casey Correa, Natasha K. De Armas, Jacqueline Ehle Inglefield, Frank Rapant, Beckett Sky, and DW Zinsser.
In “…From Inside the House,” the artists explore the intersections of memory, identity, and transformation through diverse mediums and personal narratives in varied media from assemblage to immersive installations.
Excerpt from Exhibition Catalogue, written by Andrew Paul Woolbright:
Ranciere recognized collage for its rarefied ability to suspend what cannot otherwise be aligned. It opens a passage of a third political sphere between dissident forms. Casey Correa understands that we are unable to step outside of the hegemonic desire economies of the patriarchy, but her work is situated between belonging within it and desiring an outside of it. Correa wants to know how the majority constructs our conception of the ordinary. The cleaning products, the ironing boards, and the football pads each annotate this heavily manufactured “ordinary” of American suburban life; an ordinary that reinforces the white patriarchal and conservative notions of domesticity and the family. Correa’s work acknowledges its desire to fit into the glamorous world of Pop through Euphoria and Real Housewives, while also suspecting that it generates a difference and lack within it. But while these symbols advance, behind them are clever quotations to the history of art when it most closely aligns with these broader desires. Correa revamps Rauschenberg’s combines so as to see what happens when it revisits us as a spectre from America’s past. In graceandgravity (2025), Warhol’s Triple Elvis becomes Triple John Mayer on an ironing board. The quotations within quotations remind us that culture produces endless celebrity, fulfilling the silhouette of those that came before with new, but familiar, forms.
Freud could only distinguish libido through masculine drives. The feminine was secondary, only existing as reactive to the desires of men. Throughout the expressions of American culture that Correa focuses on, there is the body. The empty pill jackets index the bioregulation of women within the testosterone hegemony. Correa is within but trying to also be without all of these apparatuses of power. She uses collage to help us see things by taking them out of their natural order. In Bravo, Bravo, fucking Bravo! (2025) the print of John Mayer, emanating the familiar aura of a teen heartthrob, is transferred onto foamcore, then stacked on a pedestal and a roadcase. A home plate is painted over in concentric circles to mimic the grooves of a record. The sound of its keeps the rhythm of deeper desires to participate.
High up on the window in please, please, please (I’ve got dreams to remember) (2025) is an image of the pro-wrestler American Nightmare. In the canon, his father was American Dream. Out of the window is a bandana ladder–– a way out from between the father and son and the twisted dream that they’ve formed together. Correa’s collages seek to take things beyond the body, beyond the house, where things enter in as gendered forms of control and power and leave uncoupled and unfamiliar to us, their symbols denatured into strange and unfamiliar forms.
Precarity & Possibility
at SVA’s Flatiron Gallery
July 10 – 29, 2024
School of Visual Arts (SVA) presents “Precarity & Possibility,” an exhibition of work by six second-year students in the MFA Art Practice program, curated by department faculty member and director of operations Jacquelyn Strycker.
The works in this show grapple with what it means to find resilience, beauty and possibility in an uncertain world. The artists explore themes of addiction, truth, the body, the environment and our relationship to consumer objects and detritus, each building a home with ambivalence and hope on uncertain terrain.
Casey Correa’s assemblage lays bare the back of the canvas, adorning it with found objects like mousetraps and a stuffed Shamu. She plays with colors, images and words in an anthropological exploration of the detritus of contemporary life.
10² – Using Art As A Vehicle for Change
Group Show at Art06870 (Old Greenwich, CT)
An exhibition and fundraiser in collaboration with the Greenwich Alliance for Education. Over 100 national, regional, and local artists selected by committee contributed 12×12” works, each sold to fund workshops for children at the Boys & Girls Club, schools, museums, and galleries. Organized by artists and educators Michael Manning, Christian Salvati, and Ben Quesnel, the event combined creative practice with direct community impact.
re-association A (2024)
two ink monoprints on paper (original drawings), Victory mousetrap (inherited), peel & stick plastic tiles (gifted), wood panel (gifted), 3M painter’s tape (purchased), colored pencil (purchased), acrylic (purchased)
12×12″
casey correa 