Melissa Sclafani, If I go, you go, we all go round, 2018, Concrete 144 by 144 by 6 inches.
Melissa Sclafani, Pick you up, pull me down (pull through), Cast concrete and tug of war rope, 2021, dimensions vary.
Melissa Sclafani, Lean To / Live Trap, 2017, Chain link, steel, concrete, 76 by 96 by 96 inches.
Melissa Sclafani, Resist / Surrender, 2021, digital video, infinite loop.
Melissa Sclafani, Falling Time, Fall in Line (Seesaw), 2018, digital video, infinite loop. ​
Melissa Scafani, Falling Time, Fall in Line (Merry go Round), 2018, Digital video, infinite loop.
Melissa Scafani, Make it stick, don't get stuck, 2018, Concrete, 55 by 34 by 13 inches each
Melissa Scafani, Ursula's Power / Play, 2018, steel and canvas, 105 by 144 by 144 inches & Round, and round, and round we go, 2018, steel barricade, 42 by 72 by 72 inches
Melissa Sclafani, It's a small world after all, 2017, Chain link, steel pipe, wood, shag carpet, 96 by 120 by 120 inches.
Melissa Scafani, Clash / Conform, 2021, Digital video, Infinite loop.
Melissa Sclafani, Untitled (Circle), 2016, Chain link, steel, concrete, 96 by 96 by 96 inches.
Melissa Sclafani, SEE / SAW, 2021 Hand embroidered flags, 5 by 10 feet.
Melissa Scafani, Stick, Sticky, Stuck, Unstuck, 2020, Cactus spines on paper, 5 by 5 inches.
Melissa Scalani, I've Rendered You Defenseless, 2020, 1050 cactus spines on paper, 22 by 30 inches unframed, 28 by 38 inches framed.
Melissa Sclafani, Is the grass greener? 2021, Astroturf on paper, 10 by 14 inches.

Melissa Sclafani

Melissa Sclafani is an Assistant Professor & Gallery Director in the Department of Art & Design at Fort Lewis College. She received her BFA in sculpture from SUNY New Plaza in 2009 and her MFA in Sculpture and Post-Studio Practice from the Univerisity of Colorado at Boulder in 2018. Ms. Sclafani’s work manifests in sculpture, installation, and performance often integrating all three together. She uses her background in traditional sculpture techniques, journalism, and gender studies to generate a relationship between labor intensive process, interaction, and social constructions. Affect, queer and feminist theories have framed the conceptual side of her practice and she explores more how breaking down (emotionally, institutionally, systematically) can cause radical change. She is interested in creating work that sparks conversation, getting herself and the viewer to think more, talk more, work together, and hopefully, do more.



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