NICK MISSEL

REM COLLECTION

Have you ever woken up and not known if it was a memory or a dream?

My room was just big enough for a mattress so I would roll up my piece of foam every night and put it away in a ritualistic practice to create a space to dream. This process inspired the REM Collection where I contort the foam and freeze its form with resin. Blurring the line of reality I ask these materials to become something they don't want, soft becomes hard, collapse becomes structure. 

I was drawn to the industrial aesthetic of the tessellation pattern of the egg crate foam and how it overlaps with nature, allowing these characteristics to to contrast with the flat planes creating a friction and cohesion in the work. 

Our beds are a deeply personal space that we hold sacred and transport us to the world of dreams, share secrets, and have intimate moments of vulnerability. Using dream analysis as a contemporary 3d modeling space I created my work in a lucid state of REM; waking up, journaling, and sketching. The REM Collection refers to the dream state where our minds are most active, wandering, expanding and getting lost deep within ourselves. 

REM Collection: Uncut, 2026
resin, automotive paint
26.5 x 40 x 34 in

REM Collection: TWO STEP, 2026
resin, mattress foam, automotive paint
34 x 53 x 31 in

REM Collection: Double Knot, 2024
Fiberglass, resin, Automotive paint
38 x 97 x 33 in 

REM Collection: California Dreaming, 2024
Automotive paint, resin fiberglass
33 x 32 x 26 in

 

REM Collection: TWISTED FANTASY, 2024
resin, mattress foam, automotive paint
34 x 53 x 31 in

ALUMATION COLLECTION

PSSSSS, Force building, failure is imminent, BANG! Energy is released in a violent explosion and you are stuck on the side of the highway. Like the conception of our universe, the release of energy allowed for the creation of the Alumation Collection.

 Through a process of repeatedly constructing and deconstructing the work, forming, cutting, grinding, adding, and subtracting, mimicking the life cycle of the radiators. On my drive home I would find obsolete objects on the road, collect and process the scrap metals for money to fund my sculptures when I was starting out. This experience changed the way I view something as banal as a fan or intercooler and see inherent value that then translated into culture value for me. The life of an object is embedded in its material and use which points to culture.

 I have been fascinated by Industry and manufacturing and how it feels we are at a tipping point in this accelerated future where technology reshapes our world leaving many behind and forced to adapt. While people have a choice, metals are in a loop of reincarnation being melted down and reprocessed indefinitely. I noticed something beautiful in the compressed mesh patterns that can only be found and composed to feel natural.

Alumation Collection: Letters After Midnight, 2024
Aluminum radiators, resin, fiberglass
36 x 84 x 30 in

Alumation Collection: Breakpoint (Al001), 2024
Aluminum radiators, resin fiberglass
37 x 54 x 27 in

Alumation Collection: Core, 2024
Aluminum radiators, resin, fiberglass
21 x 16.5 x 16.5 in

 Alumation Collection: Gravity Well mirror, 2024
aluminum radiator, resin
48 x 48 x 2 in

 Alumation Collection: HULK (Al002), 2024
Aluminum radiators, resin fiberglass
11 x 18 x 13 in

Flow Series: VENANGO, 2025
Aluminum radiators, resin
19.5 x 16 x 16 in

Flow Series: churn, 2025
Aluminum radiators, resin
20 x 20 x 20 in

Alumation Collection: Dreamsicle , 2026
Aluminum radiators, resin
30 x 72 in

INFRATHIN COLLECTION

I see the work as an extension of immaterial space or something similar to the Duchampian ‘Infrathin’, which is only defined and understood by a reference or example, for instance, it is the warmth of a seat that has just been left or the image burn on your eyelids that is slowly fading away. The Infrathin merges the physical and psychological into a symbiotic relationship. I ask myself: How do you make sculpture do photography? How do you represent absence through the physical?

I see cardboard as a transitory material that mimics the Infrathin in a physical form,  something that is there but not ‘seen’, utility overriding aesthetics, it is a vessel, a shell of what was, a temporary shelter but one that is fragile. Through the process of casting a skin of silicone around these compressed bailes they represent the absence of what was there while pointing to its origin in something that is familiar but distant.  The coalescence of our waste defines us and connects us across economic backgrounds. Bound bales of discarded cardboard packaging—boxes for diapers, avocados, appliances— tell a story of our lives, our communities, our memories, our hopes. Like photographs of the shadows of humanity, they are the residue of our lives.

 I think about the work passing through stages of compression: physically through material, culturally through symbols, and visually through the surface treatment. I see these  as all being in constant motion simultaneously, shifting legibility and reference in the work. Compression is about an economy of space, everything that is no longer of value is compressed while also some of the most valuable goods, diamonds, are created through compression. These by-products reveal an action and inherent energy that is stored in these forms. 

 I see photography as an extension of space through the flattening of it, like painting is an extension of our minds creating the illusion of space, and thus sculpture and furniture are an extension of our bodies and the most direct through their materiality. There are tricks in sculpture but I don't see it as being tricked. The physicality of the work confronts us in the most human way, through being in our space and affecting our environment in a way that is closest to nature.

Infrathin Collection: Roadhouse, 2024
SIlicone, memory foam
18.5 x 18.5 x 18 in

Infrathin Collection:Tiger Eye, 2024
SIlicone, memory foam
18 x 18 x 18 in

Infrathin Collection: Purple Rain, 2024
SIlicone, memory foam
18 x 18 x 18 in

Infrathin Collection: Electric Rodeo, 2024
SIlicone, memory foam
18 x 18 x 18 in 

 INFRATHIN COLLECTION: ATMOS, 2021
Silicone rubber, FIBERGLASS, RESIN
60 x 27 x 45 in

Hudson Cube, 2022
Silicone rubber, foam
20 x 27 x 27 in

Apollo Cube, 2022
Silicone rubber, foam
20 x 27 x 27 in

Tycho Cube, 2021
Silicone rubber, foam
20 x 27 x 27 in

INFRATHIN COLLECTION: ACID PUNK Cube, 2021
Silicone rubber, foam
20 x 27 x 27 in

INFRATHIN COLLECTION: DOUBLE VISION Cube, 2021
Silicone rubber, foam
20 x 27 x 27 in

INFRATHIN COLLECTION: take out special, 2019
Silicone rubber, foam
34 x 72 x 36 in

  INFRATHIN COLLECTION: flotsam, 2019
Silicone rubber, foam
45 x 72 x 20 in

The real deal, 2018
Silicone rubber, foam

120 x 72 x 84 in

102 x 72 x 65 in

BA(I)L/E, 2016
INSULALATION FOAM, METAL TIES
36 x 48 x 36 in

 MOMENTO MORI

Plexiglas, Urethane

40" x 30" x 65"

2016