Blue Lady, 2015

Tinted plaster, gold paint, found flower print in frame, porcelain knobs from vintage electrical wiring, steel wool, metal rusted roofing, knives, steel wire, resin, blue cast plaster maiden head, drilled holes and router scraping

20" x 18" x 2"

Over Somewhere, 2015

Reclaimed lath, vintage doors, drilling, plaster, paint, rusted scrap metal, knives, cast plaster punch cup, gold paint, crushed blue painted car steel part, aluminum tape

19" x 16" x 2"

Someday, 2015

Door, plaster, drilled holes

55" x 30" x 3"

Compression

Compression, 2013

Resin, acrylic and concrete, soil, nails

12” x 7” x 2”

Welcome Home

Welcome Home, 2012

Wooden bureau top, tinted concrete, Carrera marble, glass, resin, silk, found wood, cattle fencing wire, curtain bits

37” x 15” x 3”

Dowry, Rediscovered

Dowry, Rediscovered, 2012

Wooden bench, dishes, acrylic gel

26” x 14” x 6”

Little Wooden Board

Little Wooden Board, 2013

Buffet drawer face, cement, crushed glass, metal wire, acrylic, telephone wire, curtain, nails, marble

17” x 8” x 4”

Northern Isolation

Northern Isolation, 2012

Vintage door panel, resin, paper, acrylic, rust aluminum, steel wire, crushed glass, concrete

15” x 27.5” x 3”

Shroud 3

Shroud Three, 2013

Silk and resin

17" x 10" x 3"

Vanity

Vanity, 2013

Concrete, resin, rusted roof, wooden drawer, dye, aluminum tape

8” x 15” x 3”

Split Sunset

Split Sunset, 2013

Resin, wooden sideboard piece, glass, concrete, aluminum, silicone, silk

7” x 8” x 3.5”

Untitled (Ghost)

Untitled (Ghost), 2010

Chair, cheesecloth, paint, plaster

40” x 17” x 18”

Biography

Julie Schenkelberg grew up in the post-industrial landscape of Cleveland, Ohio. Her mixed-media installations start with furniture, dishware, textiles, and marble, combined with concrete, resin, and construction materials, to transform notions of domesticity, and engage with the American Rust Belt's legacy of abandonment and decay. Using the home as a playground for formal and conceptual subversions, the work aggressively disrupts cohesion within the physical sphere. Familiar furnishings rekindle memories or premonitions of collapse, suggesting both the utter destruction of war, calamities, or urban decay, but also the uncanny juxtapositions of fragile substances such as cloth and china, with industrial materials such as rusty metal, heavy concrete, and tool-made marks such as drilled holes and chain-sawed indentations.

Julie Schenkelberg received a BA in art history at the College of Wooster, OH, and an MFA at the School of Visual Arts, NY, with additional studies at SAIC at Oxbow, MI, Pont Aven School of Contemporary Art, France, and the Institute of European Studies, Vienna. Her large-scale installations have been displayed in solo exhibitions at The Sculpture Center, Cleveland, the Mattress Factory Museum of Contemporary Art, Pittsburgh, and the University of Akron Meyers School of Art, with upcoming shows at Beeler Gallery, OH, Plug Projects, MO, and Prosjekstron Normans, Norway. Group exhibitions include 601 Artspace, New York, Storefront Ten Eyck, Brooklyn, A.I.R. Gallery, Brooklyn, and Station Independent, New York. Schenkelberg won the 2014 ArtPrize Installation Juried Award with the curatorial group SiTE:LAB for her installation "Symptomatic Constant", and has received two National Endowment for the Arts Grants, a Harpo Foundation Grant, and was awarded a residency at The Bemis Center for Contemporary Arts, Omaha. Press includes Artforum, The New Yorker, PBS, Bloomberg, Hyperallergic, The Brooklyn Rail, Art F City, The Huffington Post, Beautiful Decay and Ground Magazine, and she has been named one of "30 Artists to Watch" by NY Arts Magazine.