Nature and how it’s defined, is integral to Marney Fuller’s art. Its many facets are represented within her body of work. For instance, the painting, “Cake” suggests encroachment while her recent installation, “Ecosystem [Rebirth]” erected on the side of a school building, propels nature as larger-than-life super heroes. All of Fuller’s art references the fleeting environment. She paints with oil and sculpts with metal in all of its varied forms. Marney has been a Brooklynite for several years. She is originally from Southern CA and Seattle, WA. She’s had her studio in DUMBO, Brooklyn for close to 30 years. Marney is also an art educator. In 2007, she started an award-winning art school for teens in her studio called, Art Workshop Experience (AWE). She says, it’s fulfilling to provide an inclusive environment for young artists to make art. In past years, she’s been a teaching artist and artist-in-residence at under-served schools in NYC. Through various grants, she’s been able to produce public art with her students, instilling a sense of purpose to them and the communities.

 

STATEMENT

Managing Nature
Nature serves me. I want just enough trees to feel rural but, not to ruin my view. I want roses crawling up my trellis, not the wild vines rooted near my fence. My yard is filled with flowers and shrubs that tell me the seasons. It’s a prepared canvas to show off my love of the land. The racoon wants in. The black bear searches for food in my trash. The deer roam freely and eat the plants I nurtured and coddled. The tract houses replaced the farm. The farm replaced the woods. The frogs no longer croak. The creek no longer exists. My relationship with nature is from the window. What is nature and how do I define it? Encroachment.

Our relationship with nature.

Movement, light and time are characteristic of all of my art. My paintings are emotive landscapes about our relationship with nature. My art heralds the pollinators and givers of life with the undercurrent of fleeting habitats. I celebrate the familiar; the creatures and plants that surround us everyday as super heroes. I expose our bellwethers. My iconography is a microcosm of changing boundaries and the impermanence of the environment. My paintings have layered surfaces. Strokes, drips, sprays and plops build the body. Colors next to one another optically describe light and depth that transform gestured marks into representation. The paintings physically become timelines of process and progression. My metal assemblage sculptures are emblems of nature’s small giants; the insects and plants. The sculptures resemble large physical drawings that twist and scribble like pencil sketches. The ensemble of metals; rods, tubing, sheets and wire, create form. My sculptures too, are layered; built by weaving, sewing and embroidering metals together. My labor of love is to elevate our awareness of nature, especially what surrounds us everyday and the need for its preservation and guardianship.

 

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