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 The Personal is Political    


       Julia used her experience as a fashion model in her early work from 2000-4: “I took contemporary tear sheets from fashion magazines which I thought were perfectly conceived as an image and wanted to re make the image from the models perspective and tell the story as I saw it, behind her eyes. I broke down the image into a basic component parts on grid paper, which was my sketch book. The work resembled simple clunky 8bit form computer images, in thick poured acrylic paint. A few references of interest were frontal and reductive such as Luc Tuymans, Gary Hume, Alex Katz, Assyrian Sculpture.


       Julia moved to NYC in 2005-2012 with her young family and withdrew into surgical recuperation and child care. She kept painting, but grew frustrated with her reliance on the grid. She made a film called “My Friend Maia’ a portrait of an older ballet dancer friend set in Fire Island, and another shot over 2 years on a farm in Long Island where she experimented by mirroring scenes of the farmer at work by inserting herself in his place, which she expanded in Upstate New York where she is now based, in short one shot films immersed in construction and road work while moving towards dance and movement (see on Insta @juliawarr). Notable artists of interest were Yvonne Rainer, Lucinda Childs, Jacky Lansley from DRS and Joan Jonas. 


       Julia returned to painting by 2016 introducing gestural painting into her gridded painting practice while retaining an interest in the figurative, symmetrically, seriality and lines. Her work was seen in John Moores 2016. A few artists of interest were Mernet Larson and Peter Doig. 


       Most recently with overwhelming world events crashing in Julia has struggled to find a place for her painting in her conscience which can express the injustice, hatred and pain within the domestic interior of the USA and the aggressive Russian campaign against Ukraine. Julia’s research has been an ongoing process of revisiting drawings she made up to 20 years ago which were obsessively worked on but never realised as paintings. These are reductive, muted, and truthful to the artist, and a project with no end point.  Artists of interest are currently Milton Avery, Karen Kilimnik, Thomas Schutte and Merce Cunningham.


Stay tuned and thanks for reading.


Julia Warr June 1 2022