Carrie Marill

Carrie Marill uses geometric signs and symbols in a more personal and poetic refrain than many of the other artists engage in the “New Geometricism”. Allusions to patterns from other cultures, the patterns at play in our own lives and how we pattern our artistic practice as a means of addressing the greater concerns of the world around us, make Marill’s sustained engagement with the discourse and devices of the geometric truly unique in the art market today. Her aesthetic dazzles the eye with pure virtuosity by being involved in the play of revealing and concealing. Toward this end, Marill’s pictorial choices require a keen viewer who can decipher the codes and visual keys that reveal the underlying concerns behind the work, concerns that may not be readily apparent upon a first viewing.

Made of subtle and mysterious tones that dance between flashed of gold and silver opulence, Marill is able to play the tension of the full chromatic scale off against the raw substrate of her canvasses. Her ability to bring abstract and representational elements together into a truly seamless aesthetic experience is unmatched by her contemporaries. Her many bodies of work, dedication to a level of craft that is impeccable, and ongoing development of themes that are as diverse as they are intimate makes Marill's oeuvre something that one can return to again and again, and always find some completely new.

Afterall, the specificity of references to the history of art, life, and memory are what defines the thoughtful orchestration of her projects. And this rich panoply of source material gives her paintings a kind of “tapestry effect”, where the intimations of intentionality are foregrounded behind every thread and surface inflection that comprises the work. A rare voice in geometric painting today, Marill is sure to be one of the most sought after and collected artists in the years and decades ahead because she is already recognized as a rising star by both critics, collectors and art lovers everywhere.

Bio: Carrie Marill’s art is a continuous exploration of combining two worlds – Sculptural Paintings  that combine the handmade (painting & drawing) and the machine made (rhino & cnc routing). Technology and the Handmade are two worlds constantly vying for attention in her studio practice. On one hand, there is a struggle with technology and its lack of evidencing the “hand”, but her work also depends just as much on technology to realize the work. Marill’s work evokes questions like: Can the machine made appear to be hand hewn? Can the handmade appear to be more polished? Some of her inspiration comes from Jean Arp’s wooden wall hangings, with their awkward position between mediums, being not quite a painting and not quite a sculpture presence on the museum wall - especially in contrast to the other art typically hung around them. Much like Arp, Marill’s working method is to take cues from her own paintings and apply that same awkward sensibility to three-dimensional wall hangings.