VIRGINIA LEE-MONTGOMERY was born in 1986 in Houston, Texas. Through various mediums including video, performance, sound, and sculpture, she reveals the effects of the emotive, ecologic and economic uncanny. Her contemporary movements and their documentation empathetically map and physically channel the metaphysics of dematerialized capital.

Lee-Montgomery received her MFA from Yale University School of Art in 2016 and her BFA from The University of Texas at Austin in 2008. Between her BFA and MFA she worked performatively in corporate creative consulting illustrating agendas that proselytize creative commodity and innovation standards, both onshore and offshore. Lee-Montgomery's work was featured in the exhibition, In Practice: Material Deviance, at the SculptureCenter, following her debut New York solo show, SOS ONSHORE OFFSHORE, at MEYOHAS. Her work has been featured in group shows including, things you can’t unthink at The Banff Center, Canada and ALL BYTE: Feminist Intersections in Video Art, at Franklin Street Works, Stamford, CT. She will have an upcoming solo show at Plymouth Rock in Zurich, Switzerland.



Sept 16 - Oct 26, 2016

Virginia Lee Montgomery makes her New York solo show debut at MEYOHAS on East 90th Street on September 16, 2016. SOS ONSHORE OFFSHORE presents a performative mapping of Reagan's infamous deregulatory Tax Reform Act of 1986 and its impact via a 30 year old witch's dislocated, dream-logia narrative of ominous Carribean tax shelters, 80s nostalgia, and dying coral reefs.

To film the 15 minute 45 second and 1 minute 57 second videos in SOS ONSHORE OFFSHORE, Montgomery traveled to the tax shelters of the Cayman Islands and Grenada, the Kinnear Centre for Creativity and Innovation in Banff, Canada, the marble memorials of Washington DC, North America’s premier marble quarry in Barre, Vermont and the domestic US tax shelter of Wilmington, Delaware. The exhibition includes the artist’s collection of uncirculated, minted, Lincoln error coins as well as folded Memory Foam mattresses weighed down by circulated penny rolls and eroded marble fragments. She has tinted the view blue.

Globalism has many origin stories; Montgomery braids together an associative material narrative of ponytails, copper, marble, foam, and vintage 80's plastic toy sea ponies that travel great, liquid distances. Her props are ordinary but through clandestine activation reveal an intertwined account of emotive, economic, and ecologic costuming. SOS ONSHORE OFFSHORE suggests a metaphysical paradox. As global capital increases, its physical trace decreases. Narratives break down. 2016’s Panama Papers. The anthropocene. How do we make sense of Reagan’s lineage? Deregulation equates dislocation. We can, as Montgomery has, visit these paradoxical sites. Grand Cayman's notorious Ugland House, an “invisible” tax shelter, is physically situated across from a dying coral reef. This is the humble office building from which 18,857 individual, international, and corporate entities fictitiously claim working residence to evade global visibility. The tides are rising. How will we assemble the unseen?



SOS ONSHORE OFFSHORE - HD video, 15:45, 2016

OCEAN BOX – HD video, 1:57, 2016

POOLS – HD video, 1:57, 2016


Soft Limits - Memory foam, water-worn 19th century industrial marble offcut, circulated penny rolls; 72" x 84" x 36", 2016

Soft Ends – Memory foam, water-worn 19th century industrial marble offcuts, circulated penny rolls; 20" x 26" x 8", 2016

Error Coins – Uncirculated Lincoln mint errors, dimensions variable, 2016

WISHING WELL - Blue film; dimensions variable, 2016