Cory Imig is an artist, curator and educator. Her work takes the form of large-scale installations that focus on documenting time and highlighting pattern. The installations are made using common everyday materials; such as masking tape, string, wood boards and balloons. 

Imig has attended residencies at The Vermont Studio Center (2008), Charlotte Street Foundation Urban Culture Project Studio Residency (2011), ACRE Artist Residency (2013) and Art Omi International Artist Residency (2015). Her work has been exhibited in numerous exhibitions across the United States, in spaces such as Charlotte Street Foundation Project Space, Hardesty Art Center, ACRE Projects, and the H&R Block Artspace at the Kansas City Art Institute. In 2013, Imig was awarded the “Odom/Weber” Echo Scholarship from ACRE as well as a Professional Development Grant from the Mid-America Arts Alliance.  In 2015, she received a fellowship from the Charlotte Street Foundation to attend Art Omi.  She was a 2012 fellow in the Oklahoma Art Writing and Curatorial Fellowship Program where she worked with leading regional and national curators, critics, organizers and academics. She studied fiber and sculpture at the Savannah College of Art and Design (BFA, 2008) and sculpture at the University of Illinois Champaign-Urbana (MFA, 2017).  In 2012-2014, Imig was a Lecturer in Fiber Department at the Kansas City Art Institute. 

In addition to her studio practice, she is a founding member of PLUG Projects, a curatorial collaboration in the Stockyards District of Kansas City. PLUG exhibits national artists and is a recipient of a 2011 Rocket Grant from the Andy Warhol Foundation, Spencer Museum of Art, and Charlotte Street Foundation.


Through the process of building, moving, observing and rearranging I make large-scale installations that explore three-dimensional space.  In these installations, I respond specifically to each site allowing materials to change and dictate relationships between one another and the space itself.  Intentionally, this blurs boundaries between individual pieces and brings the viewer in as a moving component of the work.  Everything is active, including the space and its inhabitants.

Materials I use are familiar to everyday life, some objects are found in thrift stores, dumpsters, basements or big box store clearance bins.  They are ready for discard.  The way the objects come together in the work remains fluid, responding to varied installation sites until they rest and become fixed in a moment. 

My material choices and physical responses to space are aligned with both Minimalism and fiber histories.  Pattern, time, repetition and structure can work together to create playful and immersive environments.  These sculptures are meant to that question the idea of permanence and phenomenological experience.