Julie Shapiro’s work has been shown in numerous galleries including solo exhibitions at Six Depot Gallery, and Smith College, MA, Elizabeth Harris Gallery, NYC and Francine Seders Gallery, Seattle. Her work has been show in two person and group exhibitions at galleries including the Pollock Gallery, SMU, Lenore Gray Gallery, Providence, RI. the Painting Center, NYC, Muhlenberg College, Weatherspoon Museum, Condeso/Lawler Gallery, Drawing Center, NYC and the Brooklyn Museum. Most recently her work was shown at the Carrie Chen Gallery in Great Barrington, MA She is a member of the artist collective Pell Lucy, participating in exhibitions virtual and brick and mortar including this past spring at Piano Craft Gallery in Boston. Shapiro has received Pollock Krasner and Martha Boschen Porter Fund grants and residency fellowships VCCA, Yaddo, The Center for Contemporary Printmaking and Redline Milwaukee, Her work is included in numerous collections.
Julie Shapiro received her BA in art from UC Santa Cruz and an MFA in painting/printmaking from Yale School of Art, she also attended Yale Summer School of Art, Norfolk, CT. She taught and received tenure from Southern Methodist University in Dallas, Texas, subsequently she taught at Hampshire College in Massachusetts. She has been invited to Colleges and Universities throughout the country as Visiting Artist where she has presented talks on her own work, given critiques of student work and taught workshop courses.
About this collection of work:
Process through material is essential in my work as I move back and forth between painting, drawing, printmaking and constructing with paper. Each medium offers a different resistance, palette, surface and space, and each is open to different tools. The mashing of accident and control encourages the reexamination and self-critique that is ongoing in my working method. In these pieces the meetings and mis-alignments of line and form, between hand drawn elements and printed forms, sometimes with further participation of collage, emphasizes the idea of questioning that I seek to impart in the work. The work is strongly inspired by the geography that surrounds me; the experiences and perceptual relationships are an essential source. I find in the landscape and look beyond to occurrences of the new within the familiar, the irregular within the regular, the unexpected within the assumed, shifts as form and color meet up, cross or collide. My gathering of information is broad and varied, with parts and pieces entering the work in different ways.
Within the making of an individual work, there occurs a shift that separates, selects and asserts through an open-ended process, bringing the experiential through materiality and formal constructs to resulting form. The consequence of the collisions of history, critique and my individual response to experiences in the world are what trigger ideas and drive my practice.