I build things up. I break things down. I do it again. 

My hand is the throughline in all of my work: drawings, prints, animations, and sculpture.

I draw, driven by the need to scrawl with force and intensity. I do it again. With 6B pencils onto toothy paper. I press hard. I erase. I break things down. I build things up. I do it again.

I draw human/animal hybrid characters that look like futuristic chimera, children’s nightmares, ancient gods, women gargoyles. They hold, confront, and bite each other. 

Sometimes I add colored pencils or markers. I build things up.

I make relief carvings. And sculptures. I work with wood. I work with wood that’s had a hard life holding water at the top of buildings in the New York skyline, wood that’s been tromped on by ten thousand feet in Coney Island, wood that’s ready to retire. I chew at this wood with chisels and saws. 

I cut out shapes, mostly angular: five sided heads, strong arms, beaks, a dozen legs, a hundred ears, jaws with teeth. I break things down. I sand. I build things up. I stain. I oil. The rough and the detailed. I do it again. 

I swap the arms the legs the beaks the heads. Another beak a third beak a forth beak the right beak. Frankensteining them until I recognize the monster on the bench as the monster in my head.

Some have wheels and roll. Some have nice toes. Heads spin. Eyes light up. The chomping rhino, the minimalist hippo, the stacking turtles, the elephant with a magnetic tail, the feminst cyborg with copper tits, the robot with light-up eyes: kids play with them, I do too.

I build things up. I break things down. I do it again. 

I make screen prints. 

I build things up. I start with geometry. I start with the square. I add a circle. I do it again. I squeegee ink onto the paper through the stencil. I add my hand. I overlap. I juxtapose. I assemble shapes until there is a planetscape of an alien world. Feminst Geometry. I do it again. I hold the paper, somewhat bent and worse with ware. There’s my hand. Always my hand. I end up with almost a square. I end up with a planet where the laws of geometry are slightly different. Feminst Geometry.

I break things down. I squeegee more ink. Noise patterns, unruly beasts, raucous birds, a menagerie of id behind sprocket holes of make-believe film. 

I make animations. I draw a picture on a piece of paper. I take a picture of that picture. I erase that picture on that piece of paper. I draw another picture on that piece of paper. I take another picture of that picture. I do it again. You can see the worn marks. I do it again.

I build things up. I break things down. I do it again.

I rest.

Julie Evanoff is a Brooklyn/Queens based artist who works in drawing, printmaking, animation, and sculpture. Her exhibitions include: Ulrike Müller’s Raw/Cooked, The Brooklyn Museum; Collapse, MSU Art Gallery; Julie Evanoff: in between, The Art Institute of Tucson; and Stories real and vividly imagined, Gallery Niklas Belenius, Stockholm, Sweden. She received her MFA from Mason Gross School of the Arts, Rutgers University.

2005 – MFA Visual Art, Mason Gross School of the Arts, Rutgers University, NJ
1997 – BFA Printmaking, University Of Washington, Seattle, WA


2016-present – With another artist/maker, we run a collective studio/shop in Ridgewood, Queens. We have a small wood and metal shop. We offer four artists free workspace and a bench for 8 weeks, this is our third summer offering the residency.


2015 – Animation for physics documentary film, The Theory of Everything
2015 – Workshop981, Julie Evanoff: Planetscapes
2010 – The Gallery At The Art Institute Of Tucson, Julie Evanoff: In Between
2014 – The Visual Arts Center Mississippi State University, Collapse
2013 – Come Together: Surviving Sandy, Brooklyn, NY
2013 – Brooklyn Museum, participating artist in Ulrike Müller’s Raw/Cooked
2012 – The Invisible Dog, If you see nothing say something, Brooklyn, NY
2007 – Gallery Niklas Belenius, Stories real and vividly imagined, Stockholm, Sweden