Marnie Weber: The Sea Witch and Other Stories

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Open: Tue-Sat 11am-7pm

12 Pedder street, Central, Hong Kong, Hong Kong
Open: Tue-Sat 11am-7pm


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Marnie Weber: The Sea Witch and Other Stories

Hong Kong

Marnie Weber: The Sea Witch and Other Stories
to Sat 31 Oct 2020
Tue-Sat 11am-7pm

Simon Lee Gallery presents an exhibition of recent works by Los Angeles-based artist Marnie Weber, her first solo show in Hong Kong. This exhibition coincides with the Busan Biennial, in which Weber is presenting a major installation that includes her new film, Song of the Sea Witch.

Artworks

Daisies in the Wheat Field, 2019

Acrylic paint, gold leaf, collaged archival elements, and encaustic wax on a framed wooden panel
47 x 62.2 x 7 cm (18 1/2 x 24 1/2 x 2 3/4 in.)
© Marnie Weber. Courtesy the artist and Simon Lee Gallery

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Gathering Apples on a Sunny Day, 2019

Acrylic paint, silver leaf, collaged archival elements, and encaustic wax on a framed wooden panel
95.9 x 95.9 x 9.5 cm (37 3/4 x 37 3/4 x 3 3/4 in.)
© Marnie Weber. Courtesy the artist and Simon Lee Gallery

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Gathering Daisies on a Misty Day, 2019

Collaged archival elements, and encaustic wax on a framed wooden panel
31.8 x 24.1 x 6.3 cm (12 1/2 x 9 1/2 x 2 1/2 in.)
© Marnie Weber. Courtesy the artist and Simon Lee Gallery

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The Corn Ritual, 2019

Acrylic paint, gold leaf, collaged archival elements, and encaustic wax on a framed wooden panel
95.9 x 95.9 x 9.5 cm (37 3/4 x 37 3/4 x 3 3/4 in.)
© Marnie Weber. Courtesy the artist and Simon Lee Gallery

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Autumn Goodbye, 2019

Acrylic paint, gold leaf, collaged archival elements, and encaustic wax on a framed wooden panel
41.9 x 31.8 x 6.3 cm (16 1/2 x 12 1/2 x 2 1/2 in.)
© Marnie Weber. Courtesy the artist and Simon Lee Gallery

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Wisdom of the Owl, 2019

Collaged archival elements, and encaustic wax on a framed wooden panel
52.1 x 41.9 x 6.3 cm (20 1/2 x 16 1/2 x 2 1/2 in.)
© Marnie Weber. Courtesy the artist and Simon Lee Gallery

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Song of the Sea Witch, 2020

HD video, colour, sound. TRT: 12 minutes and 15 seconds
Dimensions variable
Exhibition Copy © Marnie Weber. Courtesy the artist and Simon Lee Gallery

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Detail: The Barn Dance, 2019

Acrylic paint, gold and copper leaf, collaged archival elements, and encaustic wax on a framed wooden panel
80.6 x 106 x 9.5 cm (31 3/4 x 41 3/4 x 3 3/4 in.)
© Marnie Weber. Courtesy the artist and Simon Lee Gallery

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Weber’s practice, which spans performance, video, sculpture, music, costume and collage, is positioned at the junction of reality and fantasy. Referencing folklore, fairy tales and myths deeply embedded in our collective memory, Weber creates dream-like tableaux set in a realm unfixed in time. Blending the carnivalesque, the bacchanalian, the mystical and the absurd, she creates uncanny worlds that stand somewhere between fantasy and reality, thus inviting viewers to an exploration of the subconscious. The darkness of Weber’s vision can be seen to lie in the precarious relationship between her parable-like aesthetic and her overtly adult subject matter: sex, drugs and death.

Exploring the loss of innocence, the community of living things, spiritualism and the subconscious through her practice, Marnie Weber has developed a series of psychologically-charged, neo-gothic fairy-tales. In Song of the Sea Witch, a theatrical new film in which the quiet life of a mysterious sea witch is threatened by a pack of discordant birds, the artist launches the viewer into a quaint, whimsical universe.

Weber’s collages are culled from the same conceptual foundation as her sculptures, films, videos, and performances; they portray a folkloric realm overflowing with young maidens, witches, spirits, and anthropomorphised forms. Her unearthly narratives synthesise divergent aesthetic tropes into coherent, unified compositions. In Blooming Hollyhocks, four quasi-cactus, quasi-female figures stand proudly against a brilliant blue sky, their floral mouths gaping wide, as though mid-song. Disorienting and mysterious, Weber’s surreal collages elicit a response from viewers, which fluctuates between melancholy and delight, attraction and repulsion, humour and tragedy.

Marnie Weber was born in Bridgeport, CT in 1959 and currently lives and works in Los Angeles, CA. Recent solo and group exhibitions include Marnie Weber & Justin John Greene, Simon Lee Gallery, New York, NY (2019); Marnie Weber: Songs that Never Die and Other Stories, Museum of Contemporary Art, San Diego, CA (2019); Twisted Refrain: The Work of Marnie Weber, Boone Family Art Gallery, Pasadena City College, Pasadena, CA (2019); The Day of Forevermore, Concordia University, Montreal, Canada (2018); Once Upon a Time in Forevermore, MAMCO, Geneva, Switzerland (2016); Marnie Weber: The Autumn Bear, Palais de Tokyo, Paris, France (2011) and Marnie Weber, Forever Free, The Cinema Show: A Film Retrospective and Installations, Sculpture and Collage, Le Magasin Centre National d’Art Contemporain de Grenoble, France (2010). In addition to her work as an artist, Weber has a significant musical career. Originally part of the LA-based band Party Boys, she has subsequently released countless solo albums. Weber is widely known for her art-rock band The Spirit Girls, who are also featured as characters in her films. More recently Weber formed a collaborative noise band F who has a dedicated yet idiosyncratic following in Los Angeles. Weber will be presenting at the Busan Biennale in September 2020.

© Marnie Weber. Courtesy the artist and Simon Lee Gallery

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