Featured artist selected by Cassandra Coblentz, Curator, Scottsdale Museum of Contemporary Art (SMoCA). Featuring the work from the Persian Mini’s series.
Be Realistic, Demand the Impossible: Carrie Marill
By Allison Arieff
Fragments of Carrie Marill’s fantastical Visual Aides series are as surprising to the eye
as Obama’s uttering of “clean coal technology” is to the ear. What at first seems a
bucolic glimpse into agrarian idyll reveals itself to be a mind-boggling mash-up: equal
parts pre-industrial arcadia and post-apocalyptic terrain.
Be Realistic, Demand the Impossible sounds like an awesome Tony Robbins
affirmation: in visual form, this work by Marill seems to me a perfect illustration of our
present-day realities (not to mention a spot-on assessment of the current political
climate). The pioneer-era obsessions of America’s recession-weary urbanites—
heirloom livestock, recycling, alternative energy and water conservation—co-exist
tenuously with other, less-eco pursuits like pampered pets, exotic birds, and um,
nuclear power. This motley assortment of quotidian elements seems to co-exist in a
waiting for the other shoe to drop sort of way. Are those dark clouds encroaching or
To Read More …. Allison Arieff’s essay
Carrie Marill: Doing A Lot With Very Little at Jen Bekman www.jenbekman.com Through October 18
Jen Bekman is one of the pioneer galleries in Nolita. This show of Carrie Marill’s work is a study in the deconstruction of the landscape/still life. Her delicately rendered pieces lie somewhere in between, and it’s good to know someone is still expending a lot of time and thought pondering the value of genre painting while doing something quietly innovative
Charles Dee Mitchell
You wouldn’t expect an artist in the year 2008 to wake in the morning and say to himself or herself, “Today I am going to make a painting of a bird.” Aren’t they supposed to be hacking into computer code or working out the logistics of 15-channel video presentations?
ok excuse me if i get a little shouty in this post…but i have so much to say about carrie marill’s work. last week, 20×200 released a gorgeous print by carrie, which sold out in heart beat. is it any wonder looking at these pieces? not only was i completely enraptured w/ her print, but the name, the name! holy lord the name. i just loved it: a dream world glimmers in the background of the soul. looking over carrie’s work, i had such a hard time picking out what to display here on the blog. it all resonates beautifully w/ me. the rainbows and wildlife, make each and everyone irresistible. i walk to work everyday, seeing all sorts of birds and animals, which remind me more and more that our worlds are becoming increasingly entwined every second. carrie’s work is a perfect rendition of this. go to her site and pour over the pages and pages of her work…it’s so worth it. and for crying out loud get on 20×200 mailing list if you haven’t already.
Once in a while I stumble across an artist who’s work touches on a number of my particular subject loves, and that is most definitely the case with carrie marill. Not only are her paintings and drawings amazing in their simple, flat, modern depiction of birds, houses, mushrooms and landscape but their compositions are surprising and the color palettes fresh. Beyond the fact that they are lovely to look at, there’s a deeper commentary going on here that’s very compelling. The intersections between human civilization and nature are being both sensitively and meaningfully explored in the art she’s making. To say that I’m swooning here is an understatement. I love, love, love this work. link
Whimsical, stark, spare, disarming, sneakily and subversively weighty, Carrie Marill’s works in gouache and acrylic combine the silliness of Dr. Seuss with the sober precision of John James Audubon. Born in San Francisco in 1976 to a dentist father and a phlebotomist mother, Marill and her brother (now a musician) benefited from a rather typically unrestricted Bay Area childhood.
So I decided to start doing a little blog series on artists and their command of a particular medium or material. What better way to start than with the ever perplexing Gouache. Pronounced ‘Gwash’, this opaque watercolor is a favorite of screen-printers turned painters, or vice versa, due to its flatness and opacity, much like silkscreen ink. Painters who demand the vibrancy of watercolors but who value the thick hues and opacity of acrylic paint find this to be their happy medium, no pun intended. After years of using this pasty little tube of paint, I have developed a fondness, much as one develops a fondness for toads. The type of fondness that says, “I like you, just as long as I don’t have to deal with you on a daily basis.”
By Richard Nilsen
As a newcomer to Arizona, Carrie Marill can still see things we no longer notice.
The city and its surroundings fairly pop out of her work now showing at Lisa Sette Gallery in Scottsdale. Here’s Good Sam hospital, there’s the grain elevator in Tempe. Here’s Shaw Butte, there’s St. Mary’s Basilica.
“…There are some terrific summer art treats this August that I found wildly inspiring. If you’re out in Los Angeles, be sure to check out CARRIE MARILL at SIXSPACE gallery. The show is called NEWFOUNDLAND and the gouache on paper paintings explore extinct and endangered plants and animals. The astonishing quality of the work is not as visable in the photos of the work, so try to see them in person. Carrie Marill is a very gifted artist and one to keep an eye on…”