Artist Statement
My main form of artistic expression is painting. Where possible, I like my paintings to expand into three-dimensional space and become installations. I am interested in showing the visible and non-visible forces of nature that shape our everyday lives and entangle us inextricably with the nonhuman world.
I paint subjects like the movement in the foliage of trees, the magnetic fields of the Earth and other celestial bodies, views of the inside of human bodies that look like otherworldly landscapes and imaginary places on other worlds. I see painting as an alternative system of communication that relies in equal parts on the non-verbal, the subconscious and representation.
I have also worked with performance, video, drawing, writing and prints, but painting remains the core of my praxis. Over the years, I have developed a repertoire of different styles and techniques that I like to mix and match according to the subject. Recently, I started to repaint older works with new approaches, and this temporal and stylistic layering feels like a door opener to new levels.
My installations usually take the shape of immersive rooms, where I use light, sound, text and various materials to draw the visitor deep into a new world. I like to create places, within a painting or within a room, where people can experience an alternative version of their everyday life or gain a new perspective on things. I value the aesthetic experience of the visitor in the same way as their possibility of rest, relaxation, play and connection within my work.
Thematically, I find my thinking reflected in post-humanist and eco-feminist theories. I’m also interested in exploring consciousness and the body from a phenomenological perspective. Making art is, for me, a continuous negotiation between mind, body and material. Painting is not only an intellectual endeavor but also a sensual, physical experience, and I find free association as fruitful and rewarding as theoretical research. I’m an avid reader of literary fiction, and thus I love storytelling and world-building, and I aim to bring this aspect into my work.
As a person who stutters, I am interested in the cultural and aesthetic value of crip speech, and I am using disability as a method. This means that I’m thinking about how my experience of stuttering can be shared in an enriching way with other people and how I can use it as a creative methodology within painting and other art forms. At the moment, I am working on different ways to represent the stutter in abstract painting, as well as lecture performances where I share my thoughts on the subject on a more theoretical level.
I am subconsciously influenced by possibly every artwork I have ever laid my eyes on, but if asked who my role models are, I name artists like Maria Lassnig, Agnes Pelton, Dora Carrington, Myoko Ito, Joan Mitchell and, of course, my peers in the contemporary painting scene, locally and internationally. I see myself as a node in the web of all painters, alive and dead, with attachments and connections in all directions.
Vita
Marianne Vlaschits received her masters from the Academy of Fine Arts in Vienna and has since exhibited her work internationally. Recent exhibitions include „Acceptable Paintings“, Pech, Vienna; „Unknown Familiars“, Leopold Museum, Vienna; „Mountains and Mist“, Mountains Gallery, Berlin; "Darker, Lighter, Puffy, Flat", Kunsthalle Wien, Vienna; "On the New", Belvedere 21, Vienna; "Danger Season" at la BEAST, Los Angeles; "On Beauty", Galerie Crone, Vienna, „Orbs and Awe“ at L’Inconnue, New York, “Wells of Wisdoms“, MeetFactory, Prague 2022, „Auroras“, Galerie Sophia Vonier, Salzburg 2021, „Contrology“, Kunstraum Riehen, Basel 2021, „Gates“, Eve Leibe Gallery, London 2021, „A Body That Lasts“, Galerie 5020 Salzburg; “A Construction Site of Extraordinary Feelings”, The Breeder Gallery, Athens 2020; „The Magnetic Spell“, Suzie Shride, Vienna 2020, “Stone Telling”, Kunstraum NÖ, 2019 Vienna. Vlaschits has received numerous awards and grants for her work, including the advancement award by the City of Vienna in 2022,the state scholarship by the Federal Government in Austria in 2024 and a residency at the ISCP in New York City in 2025.
My main form of artistic expression is painting. Where possible, I like my paintings to expand into three-dimensional space and become installations. I am interested in showing the visible and non-visible forces of nature that shape our everyday lives and entangle us inextricably with the nonhuman world.
I paint subjects like the movement in the foliage of trees, the magnetic fields of the Earth and other celestial bodies, views of the inside of human bodies that look like otherworldly landscapes and imaginary places on other worlds. I see painting as an alternative system of communication that relies in equal parts on the non-verbal, the subconscious and representation.
I have also worked with performance, video, drawing, writing and prints, but painting remains the core of my praxis. Over the years, I have developed a repertoire of different styles and techniques that I like to mix and match according to the subject. Recently, I started to repaint older works with new approaches, and this temporal and stylistic layering feels like a door opener to new levels.
My installations usually take the shape of immersive rooms, where I use light, sound, text and various materials to draw the visitor deep into a new world. I like to create places, within a painting or within a room, where people can experience an alternative version of their everyday life or gain a new perspective on things. I value the aesthetic experience of the visitor in the same way as their possibility of rest, relaxation, play and connection within my work.
Thematically, I find my thinking reflected in post-humanist and eco-feminist theories. I’m also interested in exploring consciousness and the body from a phenomenological perspective. Making art is, for me, a continuous negotiation between mind, body and material. Painting is not only an intellectual endeavor but also a sensual, physical experience, and I find free association as fruitful and rewarding as theoretical research. I’m an avid reader of literary fiction, and thus I love storytelling and world-building, and I aim to bring this aspect into my work.
As a person who stutters, I am interested in the cultural and aesthetic value of crip speech, and I am using disability as a method. This means that I’m thinking about how my experience of stuttering can be shared in an enriching way with other people and how I can use it as a creative methodology within painting and other art forms. At the moment, I am working on different ways to represent the stutter in abstract painting, as well as lecture performances where I share my thoughts on the subject on a more theoretical level.
I am subconsciously influenced by possibly every artwork I have ever laid my eyes on, but if asked who my role models are, I name artists like Maria Lassnig, Agnes Pelton, Dora Carrington, Myoko Ito, Joan Mitchell and, of course, my peers in the contemporary painting scene, locally and internationally. I see myself as a node in the web of all painters, alive and dead, with attachments and connections in all directions.
Vita
Marianne Vlaschits received her masters from the Academy of Fine Arts in Vienna and has since exhibited her work internationally. Recent exhibitions include „Acceptable Paintings“, Pech, Vienna; „Unknown Familiars“, Leopold Museum, Vienna; „Mountains and Mist“, Mountains Gallery, Berlin; "Darker, Lighter, Puffy, Flat", Kunsthalle Wien, Vienna; "On the New", Belvedere 21, Vienna; "Danger Season" at la BEAST, Los Angeles; "On Beauty", Galerie Crone, Vienna, „Orbs and Awe“ at L’Inconnue, New York, “Wells of Wisdoms“, MeetFactory, Prague 2022, „Auroras“, Galerie Sophia Vonier, Salzburg 2021, „Contrology“, Kunstraum Riehen, Basel 2021, „Gates“, Eve Leibe Gallery, London 2021, „A Body That Lasts“, Galerie 5020 Salzburg; “A Construction Site of Extraordinary Feelings”, The Breeder Gallery, Athens 2020; „The Magnetic Spell“, Suzie Shride, Vienna 2020, “Stone Telling”, Kunstraum NÖ, 2019 Vienna. Vlaschits has received numerous awards and grants for her work, including the advancement award by the City of Vienna in 2022,the state scholarship by the Federal Government in Austria in 2024 and a residency at the ISCP in New York City in 2025.