Marnie Weber

Marnie Weber's versatile and interconnected practice spans across various mediums, including performance, film, video, sculpture, collage, music, and costume design.  

Biography of Marnie Weber

Marnie Weber was born in 1959 in Bridgeport, CT. She studied at the University of Southern California in Los Angeles, CA, from 1977 to 1979, and in 1981, she received a B.A. from this university.

During her illustrious career, Weber has had numerous solo exhibitions in various locations worldwide. These shows include "Woman with Bass" at Sue Spaid Fine Art in Los Angeles, CA (1992); "Forever More" at Galerie Praz-Delavallade in Paris, FR (2001); "Marnie Weber, Ten-Year Survey of Collage" at Emily Tsingou Gallery in London, UK (2004); "Saving the Farm" at Bernier/Eliades Gallery in Athens, Greece (2008); "The Night of Forevermore" at Marc Jancou Contemporary in New York, NY (2012); "Chapel of the Moon" at Gavlak in Los Angeles, CA (2016); "The Sea Witch and Other Stories" at Simon Lee Gallery in Hong Kong (2020); "Marnie Weber, & Jim Shaw" at Zuecca Projects in Venice, Italy (Two Person) (2022), among others. 

Marnie Weber has released several solo albums, including "Songs Hurt Me" in 1990, "Woman with Bass" in 1994, "Songs Forgotten: Selections From Marnie Weber 1989 – 2004" in 2004, and more. 

Currently, she lives and works in Los Angeles, CA and Milford, CT.

Marnie Weber's Art Style

By blending elements of the carnivalesque, the bacchanalian, the mystical, and the absurd, Weber crafts uncanny realms that dwell in the liminal space between fantasy and reality, beckoning viewers to delve into the recesses of the subconscious.

Within her creations, one encounters hybrid beings, at times depicted in two-dimensional form, while others incorporate mannequins adorned in intricate attire and masks. These entities serve as contemporary grotesques reminiscent of Hieronymus Bosch, shedding light on unnatural forms and surreal universes. The depth of Weber's vision resides in the precarious juxtaposition of a parable-like, quasi-Wizard of Oz aesthetic with overtly mature themes: sexuality, narcotics, and mortality.

Since the 1990s, Weber's works have prominently featured several recurring pictorial themes: the mythological anthropomorphizing of animals and the intricate interplay between animals and humans, the appropriation and re-contextualization of images (often portraying women in positions of power and prominence), and the significance of the backdrop or setting as a realm of metamorphosis and enchantment.

Through these thematic threads, Weber explores concepts such as the loss of innocence, the interconnectedness of all living beings, spiritualism, and the depths of the subconscious. Her folkloric creations serve as psychologically charged, neo-gothic fairytales that immerse viewers in a world both disorienting and enigmatic. These works evoke a range of emotional responses, oscillating between melancholy and delight, attraction and repulsion, and a blend of humor and tragedy.