Greg Carideo

Bottle and Hole
As Above, So Below
groundwork
naked city
Building
Nave
To supplement the fragment
The Apple Stretching
Dog Eared Reverie
Storefront
Local Objects
Framework
I used to be a tree

CV

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Bottle and Hole

Bureau
New York, NY
April 25 – May 30, 2026

The Separate Lives of a Bottle and Hole

2026
Steel, paint, found clothing, found stick, found signage, pinecones, other found objects and materials
20 × 17 ½ × 17 ¾ inches

This piece began with a few objects from my life. An old paint can. A wood block used to keep my trunk door open. I wanted to trap/protect them them, exemplifying that function of artworks, by building steel containers tightly around them. I see them here like organs, held outside of a body, exterior yet interior things. Unobtainable offerings. The work grew organically, becoming fully 3D, independent of the wall. Materials from the city and beyond act as both protector and protected, taking the function of awnings and shields, but also relics underneath. A close observer may find a stick role-playing as a steel bar. It was born for the job: its exposed bark appears exactly like the rust spots on adjacent metal bars after the paint is chipped off. I love the idea that a single bar in this work can be broken easily if you find it. Inside of it all, pinecones fill the interior, which I prefer not to picture here.

Pothole

2026
Stainless steel, silver brazing, found clothing, world coins
8 ¾ × 41 ⅜ × 8 ½ inches

I tend to find value in discarded, overlooked, cast-off things, like the scraps of this shirt falling off the bones of this framework. I’m amused by pairing those scraps with these coins, who’s sole purpose is to convey value. Like the stainless steel structure, and the Queens fences it references, the coins are just metal.

A Hole Will Only Hold Onto Something That Fills It

2026
Wood flooring underlayment, primer
48 ¼ × 96 ½ × 6 inches

My straight-edged angel. This piece looms over the others in the room. It’s made of thin wood flooring, brushed white with a single coat of primer. It corresponds to the pedestal, built and painted in the same manner. The top edge is 1 inch deep and slopes to 6 inches at the bottom, where it meets the central overhang, a passageway, which has a depth of 6 inches, from the apex to bottom. What a relief.






If you're lucky, you may find a small pothole in the city, with a bottle smashed perfectly inside. I have seen it happen exactly six times. It's a remarkable thing, the separate lives of a bottle and hole, how they found each other. The bottle is one of many, made in some factory, possibly far away. It traveled all around, eventually to be bought by someone in New York, who then let it go for one last trip down the road. The road is flat and solid, repelling the world, moving things along. Nothing is meant to stay. Roads are perhaps the opposite of a container, until they open up. A hole will only hold onto something that fills it.

—Greg Carideo 


Bureau is pleased to present Bottle and Hole, a solo project by Greg Carideo in the lower level gallery. The exhibition comprises three new sculptures, a custom built pedestal, and a site-specific light installation. Carideo’s practice begins with a reverent attention to his urban environment: wandering, mapping, and cataloging his surroundings. He collects and charts the unnoticed details of design and architecture, along with careworn fragments of discarded objects, which inform the structure and subjects of his sculptures. From his careful designs, he constructs skeletal architectural armatures by hand. Each small construction develops into a kind of unorthodox reliquary, embellished with carefully selected found materials which imbue his sculptures with the gravity of time and memory.