Bio

Julie Evanoff makes drawings, prints, animations, sculptures, and all kinds of other things. She currently lives in Brooklyn, but has lived in many cities across the USA. Her artworks have been included in several exhibitions including: Ulrike Müller’s Raw/Cooked, The Brooklyn Museum; Come Together: Surviving Sandy, Brooklyn, NY; The Tool Book Project, curated by Sarah G. Sharp; Collapse, Mississippi State University; If you see nothing say something, The Invisible Dog, Brookly, NY; 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 at Rutgers University, and her BFA from the University of Washington in Seattle.


Co-Founder/Director of Tri-Tryagain Artist/Maker Space And Residency
From 2016-2021 Julie co-directed a collective studio/shop and residency in Ridgewood, Queens. Along with being an active studio space for several artists and makers, every summer using an open call application, Tri-Tryagain offered four artists free workspace, wood and metal shop lessons, group studio visits, and community for 8 weeks.


Reflections on my process (in progress)

There is a curious territory between figuration and abstraction that lends itself to imagining a story.  A narrative instance is expressed in a single frame filled with characters, often human/animal hybrids, that are holding, confronting or biting one another. Or a solitary figure is gesturing toward its own aggression, fury and sexuality. Space is made for conflict to flourish, not to resolve, and to look directly at what is uncomfortable or difficult to face in the self or the other. 

I work in a variety of media—from print-making to animation to woodworking to sculpture—but one element is always consistent throughout: the mark of my hand. Drawing thus underpins all aspects of my practice. Ricocheting between discipline and play, I channel uncontrollable surges of emotion lodged in my body into drawings and carvings. Using soft lead to make quick gestural scrawls onto paper, or chisels and saws to carve wood, I shape the marks into figures, leaving a sense of my touch, a sense of earnestness and immediacy. Direct, firm, hard-edge lines are laid down quickly and loosely. I make work without a plan, watching and listening for how to proceed at junctures, staying open for things to transform in unexpected directions.

How it’s made