What is your background in the arts and how did you end up in NYC?
Art has always been a central focus in my life. I began taking painting and sculpture classes in second grade, and my mother, who loves to travel, would take me to a museum in every city we visited. I started my official career in the arts through performing at live poetry readings in Houston, Texas when I was about fifteen, where I met an accepting and diverse community of artists. After exhibiting throughout central Texas for a couple of years and working one of my first jobs at the Contemporary Art Museum of Houston, I moved to Bushwick, Brooklyn in 2008 to join the thriving local creative community.
Can you tell us about your process?
My work is cumulative. My focus is on modes of thinking in the digital age, with a touch of the fantastic. I am interested in the fragmentation of thought through contemporary modes of communication, and the objects I create reflect this through their modular nature. Cubes, cells and cuts grow into semi-transparent, reflective structures which are both solid and ethereal, calling into question the materiality of the digital plane through which we interact.
My process is very meditative, as I often utilize repetitive techniques to create the final work over the course of several months. The construction process is a personal performance which allows me to focus scattered energy, so I consider the final product to be separate from the process in a sense. To me, the work is its creation and the reaction of the audience – the actual object is simply the signal.
I often use my photography of transitional shadows in nature as a starting point for creating fractal-inspired patterns. I aim to create a supernatural aesthetic which transports the viewer and stimulates a trance-like dream state.
What project are you currently working on now and do you have any exhibitions coming up?
My current body of work is entitled “Fairy Organs.” I find it fascinating that today one can swap out organs as if they are an accessory. The industrial manufacturing process is being applied to human body parts, such as artificial limbs. Many of my works incorporate hand cut patterns which are based on my nature photography and Mandalas. Yet, the shapes, colors and glowing lights of the Organs are inspired by supernatural imagery, reminding the viewer of their fabricated nature. Fairies are often thought of as beautiful, magic creatures, but in the myths they are often depicted as mischievous and even manipulative. This association draws further attention to the uncertainty humans face in our increased reliance on the digital and fabricated.
As The Oracle of Vector Gallery, I have been working with owner and Crown Prince of Hell JJ Brine to help develop our new location, which opened August 1st on the Lower East Side. I will display my newest Fairy Organs there at the next opening on October 3rd. I am also happy to take part in the Rema Hort Mann Foundation‘s annual benefit exhibition this November in Lower Manhattan. I am looking forward to exhibiting with the Lower East Side’s Rox Gallery again for an opening on November 19th.
Interview and photography by Jamie Martinez
Julia’s jewelry pieces are little figments of the sculptural work which she makes a few of every time she pours a large amount of resin. They are hand cut out of various printed and holographic films, and brushed with dichroic pigments. They are available as her OracleWares line.