“…Mid-career artist Marianne Weil is known for creating enigmatic bronze vessels that, in form and process, summon ancient, often mythic worlds. She creates them using the ancient lost wax casting method, a process she has evolved and coaxed to include another, unlikely medium—blown glass. This combination of transparent and fragile glass with what we think of as the impenetrable strength of metal takes many an unexpected turn in works such as Chiaro Curore (2011). Here a twisted assemblage of copper and bronze churns like a gestating form within a clear glass vessel. Bronze and glass engage in a reverse conversation in Cornucopia (2011 – 15), a work featuring an elongated golden glob of glass that appears to slither through a cornucopia-shaped basket of netted metal.”
Jurors and Artists at Parrish Art Museum by Sandra Tyler, editor-in-chief, Woven Tale Press; December 8, 2016
“Juried shows abound, but Artists Choose Artists, on view at the Parrish Art Museum, is unique in that the works of the jurors are shown together with their chosen artists. Each of the seven jurors selected two out of nearly 200 online submissions. This could have proved a particularly difficult exhibition feat—to hang works chosen by seven aesthetically quite different jurors who also happen to be artists—but curators Corinne Erni and Alicia Longwell did so quite successfully. “Artists Choose Artists is not only a wonderful survey of the richness and diversity of artistic talent on the East End,” comments Erni, “but a great means to nurture relationships between artists who are at different stages of their career.”
…. Marianne Weil masterfully melds her primary medium of bronze with the more delicate of glass—a fascinating paradox and to aesthetically gratifying effects. A departure from her earlier bronze works that resonate of the relic and more rustic, these unique sculptures appear at once emboldened and fragile…”
Chiaro Cuore, glass, copper, bronze; 9 x 8 x 4 inches
July/August 2016 Arts and Culture Issue
by Nada Marjonivich
SCULPTOR MARIANNE WEIL WORKS
MOSTLY IN PATIENCE.
The materials are her dialect, articulating a tension that
“could not be described in other materials…
[about] the collapsing nature of life around us.
But then the rebuilding.”
"Sculpture is one of the genuine strengths of the 2016 Biennial. I am a longtime admirer of the expressive bronzes of Marianne Weil, and the small but dynamic work in the show is a wonderful introduction to her work for those who have not had the privilege. Combining cast glass, copper and bronze, elegantly mounted on a welded steel stand, Between Wind and Water works from all angles, including from below and above. "
"Ms. Weil’s work strikes a similar balance between control and chaos. Her blown-glass pieces are girdled by cast bronze and copper corsets and netting. They are fascinating works, combining the natural flow of the glass with the rough and muscular use of the metals.
In pieces like “Mandible,” the glass is cradled in a metal ark and positioned on its stand in such a way to suggest that the glass may flow out of it and onto the light box on which it is set. Conversely, in a piece such as “Simulacrum,” the glass takes on solid sculptural qualities, and the copper netting seems more like a delicate and decorative veil. "
OysterPondS Historical society Summer Benefit Art Auction Video of summer art auction
Amagansett, NY - 2015
Bud, 2013 – 6 X 5 X 4 inches, cast glass and cast bronze
ILLE Arts is pleased to welcome Marianne Weil among its artists
Selected works by the artist are now on view at the gallery.
The sensuality that her current bronzes exude can be traced to the fact that Weil builds her hollow pieces directly from wax, her fingers and tools leaving impressions inside and out, before each is cast uniquely. Their surfaces marked by pits, incised lines and punctures, bring to mind excavated artifacts.
‐Elisa Decker Art in America
Marianne Weil’s abstract bronze and glass sculptures are created using the lost‐wax casting process. Weil creates each sculpture uniquely from the original wax, finishing and patinating the sculptures in her New York studio. Her recent sculpture combines cast and blown formed glass techniques assembled with cast bronze and copper.
Download the full Ille Arts Press Release
International Land-Shape Festival
Hanstholm, Denmark - June 2015
Marianne Weil’s artistic practice is inspired by the ancient technique of mold making for metal casting and by Native American adobe construction. Informed by the landscape and regional archaeology of Northwest Denmark, Weil combines clay, sand, and straw to evoke fossil-like memories in our Jylland topography.
Download the full Artist Program (English)
CONTEMPORARY ART GALLERY 14/45 St. Petersburg, Russia May - June 2015 | Translation of text | Video of Gallery Opening St Petersburg
SELECTED PRESS 2014
Hamptoms Art Hub, NYby Pat Rogers December 20, 2014
‘Holiday Show’ at Ille Arts Surpasses Expectations for Small Works Shows
...Much of my joy of looking at the art in the "Holiday Show" was catching up with current directions in works made by Hamptons artists; some whom I've been following for over a decade and others a few years. It felt very much like the Hamptons art scene had appeared at ILLE Arts for one final hurrah.....
"Lasting Trace" by Marianne Weil. Photo by Pat Rogers
SELECTED PRESS 2013
THISTED DAGBLAD, DenmarkJune 2013
Nordjyske, DenmarkJune 2013
SELECTED PRESS 2012
Interview with Faith Middleton
on WNPR-CT November 20, 2012
Marianne discusses her creative process and inspiration
"Fusion: Glass and Bronze"
Kouros Gallery, New York City, May 3-31, 2012
For her strong exhibition, titled "Fusion: Glass and Bronze," sculptor Marianne Weil created a fascinating group of works that coupled glass with various metals in truly original ways. The biomorphic objects–some standing vertically on platforms and others displayed on their sides–were fashioned from glass that had been darkened with sand or pigments, before being blown, stretched, twisted and pinched and then coupled with a variety of metals.
Download the full Doug McClemont Review
Fall Issue 2012
"FUSION: Glass and Bronze"
Kouros Gallery, New York City, May 3-31, 2012
The strongest pieces in sculptor Marianne Weil's recent exhibition at Kouros Gallery were a series of primitive and industrial works in which the artist choreographed a provocative, visceral, and sometimes violent interplay of glass and bronze. In Mindful (2011), among the exhibition's most dynamic pieces, glass oozes out of a cast bronze form; the textured bronze evokes a restrictive screen or fence. From an opening on the top of the piece, a smaller glass bubble attempts to protrude from the cranial form
.... The exquisite and elegant Abbraccio (2011) swells with movement; it showcases bronze as a protective rather than a restrictive material. A swatch of scored and bumpy bronze embraces an amorphous speckled glass form; depressions in the glass suggest fingerprints and emphasize the artist's hand in sculpting and fusing the two materials. Twist (2010), in which multicolored glass seeps out from a twisted bronze grate, is similarly animated; one can see the artist's hand coiling the form. (Weil uses sand, copper, and powder pigments to etch her works.) These works reflect a less turbulent approach to putting glass and bronze together and avoid the overt dominance of the bronze form, giving the glass a great expressive dimension.
Download the full Grace Duggan Review
Sculptor Marianne Weil Opens Her Studio
August 12, 2012 by Jenn Kennedy for the Huff Post - Gay Voices
Life experiences invariably shape artists' visions and affect where they go next. For sculptor Marianne Weil, visiting Stonehenge as a child planted a seed of curiosity that would grow into a deep connection to archeology, and specifically to prehistoric constructs. She says, "Because we are talking 5,000 years ago, there was no written history. We know only that these buildings were constructed for ceremony -- perhaps marking the seasons."
Read the full article online or download the pdf
Kouros Gallery Exhibition
May 3-31, 2012
Catalogue essay by John Goodrich Fusion: Glass and Bronze
When sculptors incorporate glass into their work, they usually exploit its conventional properties as a transparent, planar barrier. Consider the work of Larry Bell or Christopher Wilmarth, or Duchamp’s iconic The Large Glass. Over the past couple years, though, Marianne Weil has found in glass a natural extension of her own exuberant, organic explorations in bronze. Her latest work exploits, in vividly tactile fashion, glass’ other conventional use, as a vessel.(Read the full essay)
Download the full catalog
SELECTED PRESS 2007-2011
Glass and Bronze Together
November 16, 2011
….Last year, Weil received the PSC-CUNY Research Foundation Award for a project to study the fusion of glass and bronze. She applied for the grant to pursue a new artistic direction so she could keep pushing herself forward as an artist, she said.
Weil is now nearing the end of a year-long journey in exploring how blown glass and poured bronze can meet and marry in art. A recent group show at Art Sites was the first presentation of glass work, so far. Showing Weil’s first series with a new medium was a no-brainer, said Berry. “Even though it’s a new medium, she brings a connection from the work she was doing previously,” Berry said. ”She [Weil] has always been interested in transparency. The hole in the bronze and the form that she’s developing with the glass allows her to push the envelope even more.” Read the full article online or download the pdf
…..In her recent exhibition, “Ad Fundum: New Bronze Work,” she takes a giant leap through the millennia-a shift in time, accompanied by a shift in perspective…… Here, (Panóias, northern Portugal) Weil began her studies for two new sets of work- “The Panóias Cycle” series and The Dig. In these works, she evolves a new style, laying the geometry of civilization over familiar organic forms and substituting the stuff of the 21st century for nature-inspired Neolithic signs and symbols. All of this tells us that we are but a tick on the cosmic clock, that millennia from now, traces of our presence will appear only marginally different from the remains of our prehistoric and ancient brethren. Download the full article
Joyce Beckenstein Sculpture Magazine, November 2011
“…Now she has extracted the spirals, grids and punctured outlined shapes embedded in those haunting pieces and placed them in organically shaped vessels of golden-hued blown glass. “Bullseye,” for example, holds a piece of industrial copper bent into a spiral, a primordial symbol of nature and a repeated motif in Ms. Weil’s sculpture. Here the human-made detritus of contemporary life is effectively suspended like an embryo in light, much as amber seals prehistoric remains. The viewer’s reflection in glass completes the metaphor.”
Download the full article
Joyce Beckenstein October 27, 2011
Someone not already familiar with the sculpture of Marianne Weil might swear that her recent bronzes - all channeling what appear to be museum-quality artifacts - were unearthed at some ancient dig. And, in some ways, they could have been, because Weil’s work, indeed her modus operandi, brings the beauty and the mystery of ancient civilizations to a contemporary audience. Download the full review.
Ed Rubin June 2009
Kouros Gallery Exhibition Catalogue - Los Millares
Weil feels a kinship with the prehistoric masons who shaped their surroundings for defense and domestication, for practical needs and for worship. Their utilitarian projects are inherently sculptural; even as ruins, their works’ sophistication is evident. But Weil is not interested in trying to re-imagine or replicate such prototypes. Instead, she uses them as springboards for her imagination, extrapolating from them the way an improvisational musician takes a theme and expands upon it until it becomes his or her own creation.
I once wrote that Weil’s sculpture inhabits “the grey area between the organic and the mineral realms,” and she continues to explore that territory in her current work. ….This magical melding of the biological and the geological that captivated me more than a decade ago is still one of Weil’s guiding principles. Although made of metallic bronze, her objects seem animated, spirited, and full of energy. Like the totems and fetishes of ancient cultures, they stand for something beyond themselves, even as they represent a contemporary vocabulary of formal exploration and invention. Download the full Helen Harrison statement
Helen A. Harrison, Director,
Pollock-Krasner House and Study Center 2008
“The seed is in the ground. Now we may
This line of poetry, written by Wendell Berry was the inspiration for Seed, a bronze monument by Orient sculptor Marianne Weil. Commissioned by the Sisters of St. Dominic of Amityville, it will be installed on the west end of the Water Mill Village Green later this summer. The work is a commemoration of the Sisters’ 75 years of stewardship of the land, as well as their longtime commitment to the community as a spiritual center in the heart of the village. The Village Green was donated to Water Mill when they departed the area in 2005-and Seed will stand as a lasting legacy of their years of heartfelt dedication to the community…. “The sculpture has the apparent texture of a stream or river, and it blended right in with the theme of the commission.” The flowing passage of time and the creation of a lasting legacy for future generations is a theme that runs consistently through her work.
Lisa Finn July 23, 2008
The sensuality that her current bronzes exude can be traced to the fact that Weil builds her hollow pieces directly from wax, her fingers and tools leaving impressions inside and out, before each is cast uniquely. Their surfaces marked by pits, incised lines and punctures, bring to mind excavated artifacts….Weil’s search for a personal vocabulary that reinvents the lost ritual functions of excavated treasures seemed implicit in that (Twenty-six Madeleine’s) assembly. Download the full review.
Marianne Weil’s life work revolves around the theme of legacy. Her abstract bronze sculptures carry forward the spirit of ancient megalithic cultures of Europe, while the lost-wax process she uses to create them is a throwback to an earlier time. As a professor, she feels “teaching carries on a legacy and has a lasting influence on sculpture in the world.” She teaches her students’ specialized skills along with knowledge of art history so they can appreciate the historical context of their processes while they pursue their own contemporary styles and statements. Download the full review.
...Thematically, her (Weil’s) choices lean toward ancient sources, represented by her recent series entitled The Beaghmore Cycle. These pieces, inspired by contact with Neolithic sites in Ireland, coincide and resonate with Weil’s ongoing bent toward ritualistic mystery, relationships with nature and predilections for female shapes.
Her preference for organicism is manifest in an emphasis on asymmetry over symmetry and modulation over strict adherence to geometric constructs. Circular, and vessel shapes often suggest female anatomy, especially torsos or breasts. Overlays of subtle patina tones both soften and accentuate pierced, gouged, scraped, and stamped surfaces. Overall configurations complimented by textural details result in a strong tactile appeal combined with visual attraction that at once engages the eye while tempting the hand.
The sensitivity and vulnerability of Weil’s work bears testimony to the intersection of ephemeral existence with the continuities of humankind and nature. The presence of her oeuvre as a whole belies an enigmatic mystique evoking a sense of recognition in our collective subconscious as well as our individual souls. Download the full Judy Collischan statement
Judy Collischan, Ph.D,
Author of Welded Sculpture of the Twentieth Century
Bronze casting is an ancient craft, but artist Marianne Weil has turned it into a fresh new way to teach the value of art and higher education to a group of Greenport students.
In a unique art project, a dozen Greenport High School students are collaborating on a large bronze sculpture that will eventually be on display in the community. The project (MariTime Bronze) is funded by a $5,000. grant from the New York State Council for the Arts. Only a few Suffolk County artists and art organizations are awarded the highly competitive grants each year.
April 14, 2005
“Ms. Weil’s two- and three-dimensional pieces suggest in their textures and patina an ancient narrative frieze or ceremonial relic...”
May 25, 2000
“There were depths to this exhibition that made it more than just a look at Marianne Weil’s work of the past few years. The steadfastness of bronze and the strength of the artists relationship with the material were pervasive.
…Weil works with bronze as a material, from modeling the pieces directly in wax to applying the patinas. There is a hands-on sculptorliness to the work that reveals its roots in a postwar vocabulary-- Weil’s references-from cultural anthropology to the body-are strictly her own…more easily compared to her baby-boomer generation’s attraction to Surrealism and biomorphic forms… In fact it’s amazing what a diversity of potentialities Weil’s vertically oriented, upright forms embrace--almost literally. In silhouette, many of the works stand like people or confront like torsos.
….Intimacy and public address exist here side by side. The inspiration behind each of these works always seems to be broad and far reaching humanity.” Download the full review.
“Marianne Weil juxtaposes her bronze sculptures with prints by Ellen Weiner and paintings by Myrna Burks to highlight the effects of layering in various media...the subtle buildup of tones and textures in Ms. Weil’s rich patinas, in the diptych ‘During the Fall I and II,’ ...”
June 4, 2000
SELECTED PRESS 1996 - 1998
“Sculpted directly in wax and mixed media, these unique castings are appealing on many levels. For one, they instantly evoke the texture and sensibility of hand-sculpted pottery. “Columbia,” a spherical object, is textured with crater-like holes around its entirety. Like an enlarged, primeval Fabergé egg “Columbia” provokes the viewer to touch and marvel at its surface. Both “Sogno,” a gourd-like object, and “Trace,” also bear the crater holes and marks which categorize Ms. Weil’s works. “Atlas,” a long, thin figurative object, looks oddly and amiablylike a giraffe with a globe for a head. An abstracted creature, “Atlas,” resembles Giacometti’s figurative works....”
April 23, 1998
Sunday Art Review
"There is a degree of sophistication in Ms. Weil's three-dimensional and relief bronzes that incorporate bits of exotic nature in their schemes. Some of the most elegant examples were inspired by a residency fellowship in Hawaii. In all, a handsome, carefully toned and worked patina is important to the impact."
April 19, 1998
“...Unlike many artists who work in bronze, after her pieces have been cast by the foundry, Weil does all the finishing, chasing and patina work herself. ...While (she) incorporates natural materials into her bronzes, there is something distinctly deliberate in the placement of these materials that speaks to civilizations now long departed from the terrain we think we know so well. Whether inspired by the Polynesians whose sacred rock structures still dot the Hawaiian landscape, or the megaliths of Brittany, for Marianne Weil, the voice of the ancients speak across oceans and time.”
April 2, 1998
“The lament of a land-bound spirit inspired Marianne Weil to inscribe a line from Emily Dickinson on the slates of a winding path in the waterfront park at the bus terminal off Fourth Street. ‘Futile the winds to a heart in port’ poignantly evokes the longing for the absent lover, yet is equally valid as a sailor’s yearning to return to the sea.”
August 3, 1997
“...whether freestanding or emerging as relief elements embedded in a background slab, her images combine found and invented shapes...caught in the gray area between the organic and mineral realms...Like fossils or primitive life forms trapped in amber, Ms. Weil’s intriguing specimens have overtones of both biology and geology.”