SELECTED PRESS 2019 - Present
SELECTED PRESS 2017
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Ille Arts Show Evokes Meaningful Themes
The aura of icons and reminiscent of relics
By Jennifer Landes | November 16, 2017 - 11:34am
It is not too much of a stretch to see the latest exhibition at Ille Arts in Amagansett as evocative of the interior of a church or cathedral. Emily Cheng’s “Immensity of Particles,” a group of large and small abstract paintings, have the aura of icons. Marianne Weil’s “After Argos” is a series of glass and bronze sculpture, reminiscent of relics.....
.....Ms. Weil is also engaged in history and her approach also is visually indirect. Her forms are strong and dynamic, with the push and pull of the glass and bronze she uses, but she hints at history and classical mythology in the title of her show, “After Argos.”
In a cast bronze piece, “Argos Revisited,” metal mesh forms a grid creating frames for positive and negative space. Tiny cubes and tiny orbs form within the squares and extra mesh hangs off the sculpture like a fisherman’s net. Argos is an ancient Peloponnesian town incorporated into Greek mythology, most notably as the birthplace of Perseus, who slayed Medusa.
The pieces, often with titles that appear to be place names, seem like a sculptural postcard of associations and memories. They are placed on pedestals and tabletops, looking both diminutive and substantial. The permeable netting and the solid parts of the work along with the glass, where it exists, set up a yin and yang of hard and soft, positive and negative, the monumental and the unassuming.
The bronze cuffs, frames, and accents are not merely there to set off the glass, but the glass, with its various colors and bubbles, can steal the show. When certain pieces look like they could flow or topple, the implied control and chaos make the works even more compelling.
These shows will remain on view through Nov. 27.
Selected Press 2016
Marianne Weil describes her studio process to the Parrish Art Museum curators
View the complete video of the selected artists with the Parrish Art Museum curators at https://vimeo.com/190123077
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When Artists Choose Artists by Joyce Beckenstein December 6, 2016
“…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.”
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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
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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.”
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September 3 - December 4, 2016
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October 19, 2016
by Charles Riley II
"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. "
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October 25, 2016
by Mary Gregory
"Marianne Weil’s “Between Wind and Water,” translucent and shining, controlled, yet oozing, is a contemplation on containment and chaos. "
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March 24, 2016
by Jennifer Landes
"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. "
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