How many exhibition works:
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It is with great pleasure that we announce the opening of Julia Schwadron Marianelli’s solo exhibition titled, Secrets of Self Mastery.
Julia writes, “Painting has been my way of searching for meaning, layering images that reference both mental and perceptual landscapes, and interrogating notions of how we understand our shifting individual and cultural environments."
Schwadron Marianelli is a painter from New York City who relocated to Lake Tahoe 8 years ago.
She is now faculty of the Fine Arts Department, and the Assistant Director for the MFA in Interdisciplinary Arts at Sierra Nevada University. Her paintings have been written about in multiple publications including The Brooklyn Rail, The Bangkok Post, and Contemporaryartdaily.com. Schwadron Marianelli’s artwork has been exhibited nationally and internationally. She was a Visiting Professor of Painting and Artist in Residence at Chiang Mai University from 2010 – 2011, and a Visiting Assistant Professor of Painting at the University of Iowa from 2007-2009. She was a founding member of the “Matzo Files,” an artist flat file project inside Streit’s Matzo store on the Lower East Side of Manhattan in 2004.
Schwadron Marianelli received a Joan Mitchell fellowship in 2006. She completed her BA in Studio art at UC San Diego in 1998 and her MFA in Painting from the Tyler School of Art in 2004.
She currently lives and works in South Lake Tahoe with her husband and two kids.
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Exhibition Title: Secrets of Self Mastery
Artist: Julia Schwadron Marianelli
Exhibition dates 7 April-31 May 2021
Location: Melhop Gallery º7077 210 Elks Point Rd, Zephyr Cove, Nevada 89448, USA
Private viewings: by appointment only
Painting has been my way of searching for meaning, layering images that reference both mental and perceptual landscapes, and interrogating notions of how we understand our shifting individual and cultural environments.
Images of flowers, leaves or rocks correlate to brush strokes and the surfaces operate as either mirror or portal – depending on the way the marks either arrive out of the substrate or form layers to travel down into it. Through careful observation of my subjects, I imagine my paintings as records of my material explorations but also as opportunities for the viewer to experience a collapsing of boundaries between internal and external worlds. Similarly, a book can be a portal. By using self-help book cover design and language as subjects for paintings, I mean to point to what will always remain unknowable and unimaginable even in what professes to give us answers. Painting is not my way of creating a picture that settles, but rather one that continues to vibrate.
“What’s Left Over” series were made in 2006 and are all oil on linen, using white paint on a black ground, and evoke the photographic negative, a photogram, or an x-ray. Unlike a photograph, these paintings are made by hand, scaled up in direct response to individual bouquets of dried flowers. Each painting in the series measures 54” x 90”, enforcing a relation to a human scale. The white paint on the black surface is transparent in parts, and the brushstrokes are present as evidence of potential life left inside what is already dead.
In many works, I’ve used language as a visual element that also infuses meaning. In more recent works, I’ve moved from found phrases to my own words or compilations. The text matrix as the first layer is meant as a place holder for thought as well as a functional structure to organize the painting itself.
The most recent series of works in this show, loosely titled, “High Country” initiate from a glimpse of a color or texture I observe outside (or drag inside). When I moved to Tahoe from Brooklyn, it took me several years to figure out how to see my new surroundings. Much of this process felt related to the difference between accepting “landscape” as an idea, versus actually having something personal to say about it, especially in this quintessentially beautiful place. I began trail running and that activity became the mode by which I felt a strong first-person observational power.
Since I moved here my work has become colorful and highlights components or sections of what I see outside in my new location. These paintings feature possible arrangements on the forest floor, parts of a whole, and the impossibility of wrapping one’s head around some definition of nature. I think about how we can only just comment on a momentary slice of what we perceive as the “natural environment.” We can never nail it down, and the idea that we might be able to is human hubris. It reminds me of the idea that we might ever know ourselves well enough through a codified pursuit of “self-help” to feel that we’ve arrived at a mastery of the self.
Julia Schwadron Marianelli
210 Elks Point Rd, Zephyr Cove, Nevada 89448, USA
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