Céline Condorelli’s work examines the places, histories and methods of cultural engagement in society and the role of artists within them. In an expansive and highly collaborative practice that exists as sculptural interventions, sites for the public realm, installations, film, print and textile, her projects have seen the artist adopt the roles of producer, curator, book editor, facilitator and institutional director, often engaging with other artists’ works. Her unique and questioning oeuvre highlights the action of exhibiting itself, as a temporal event and material experience that expounds and permeates the division between work and leisure.
Support Structure (2003–2009) was an evolving project produced in collaboration with the artist-curator Gavin Wade (1971–) that drew attention to the conditioned uses of institutionalised space. Each phase of the project progressed and reinterpreted forms of exhibition, reflecting on concepts of ‘support’ and highlighted the often-unseen functions that facilitate services within urban society. The penultimate phase was the establishment in 2008 of Eastside Projects, an artist-run public gallery in Digbeth, Birmingham, that continues to operate today (2025).

Taking the form of a colourful climbing frame for play, Ouah Wau (to Donna Haraway) (2022) also props up a precarious 150-year-old pine in the Parc de la Grange, Geneva. The permanent public sculpture addresses the scarcity in the city of monuments dedicated to women, paying tribute to the feminist scholar Donna Haraway (1944–) whose writing addresses symbiotic relationships in nature. Other permanent public sculptures, such as Zanzibar (2018), exist as pavilions with structures and planting that connect museum histories and modernist architecture to the constructed social space, providing seating for respite and gathering.
While much of C. Condorelli’s discursive research is documented in publications accompanying her projects, she also incorporates the practices and perspectives of other artists within her presentations. The building site of Tools for Imagination (2021), a children’s playground designed by the artist for the Elmington Estate, South London, served as the subject of a film After Work (2021) produced in collaboration with the filmmaker Ben Rivers (1972–) and poet Jay Bernard (1988–). A poem by J. Bernard reflecting on life within a city provided a soundtrack to footage captured by B. Rivers of the playground’s construction, commenting on notions of work, leisure and free time. In Thinking Through Skin (2021), C. Condorelli installed wall coverings, curtains and textiles displaying images produced by mimicking the ability of cephalopods to sense and change the colour of their skin according to their environments. This environment hosted a collection of objects and artworks from various artists on the subject of animals and communication. The project expands on the artist’s ongoing research into the abstract visual language of textiles and feminist material-based work.

C. Condorelli studied at the Architectural Association School of Architecture in London, achieving her degree and diploma in 1995 and 1999 respectively. She received her MA in History and Theory of Architecture from University of East London in 2000, before completing her PhD in Research Architecture at Goldsmith College in 2013. She was shortlisted for the Max Mara Art Prize for Women in 2017 and was the 2023 National Gallery Artist in Residence. She lives and works in London.