Collections

Exhibitions

Group

  • 2020 Berlin, September, Studio Berghain Berlin Boros
  • 2020 Madrid, February, Galerie Kreisler
  • 2018 Venice, February, Palazzo Michiel, Global Art Affairs Foundation
  • 2017 The Netherlands, September, Sticky Business @ Städelijk Museum Scheidam
  • 2017 Switzerland, August, St Moritz Art Masters, Galerie Freitag 18:30
  • 2017 Berlin, March, Hyper Hyper @ Michael Reid Gallery
  • 2017 Berlin, January, Wirtschaftsforum der SPD, Galerie Freitag 18:30
  • 2016 Switzerland, August, St Moritz Art Masters 9th Edition, Galerie Freitag 18:30 @ Hotel Bernina 1865
  • 2016 Köln, October, Galerie Freitag 18:30 @Art.Fair
  • 2016 Berlin, September 14th, Berlin Art Week, Enter Art Foundation
  • 2016 Basel, June, Art Basel Pop-Up Exhibition Messeturm, Enter Art Foundation
  • 2016 Berlin, June, Berlin Michael Reid Gallery, Summer Show
  • 2015 Berlin, September, Michael Reid Gallery @ Positions Art Fair
  • 2015 Köln, October, Galerie Freitag 18:30 @Art.Fair
  • 2014 Köln, October, Galerie Freitag 18:30 @Art.Fair
  • 2014 Trebnitz, August, Who is afraid of figurative sculpture? Schloss Trebnitz
  • 2013 Aachen, December, Galerie Freitag 18:30
  • 2013 Belrin, January, Berghain Berlin
  • 2012 Aachen, December 7th, Galerie Freitag 18:30
  • 2012 Melbourne, August, Dominik Mersch Gallery @ Art Fair 2012
  • 2012 Dresden, July, “Ostrale 012” Internationale Ausstellung Gegenwartskunst
  • 2012 Aachen, July, Galerie Freitag 18:30
  • 2011 Dresden, July, “Ostrale 012” Internationale Ausstellung Gegenwartskunst
  • 2011 Eberdingen, March, Sammlung Klein, Australische Kunst
  • 2011 Aachen, February, Galerie Freitag 18:30
  • 2011 Sydney, January, Dominik Mersch Gallery “Plus One”
  • 2010 Recklinghausen, February, Galerie Grazia Blumberg
  • 2009 Sydney, January, Dominik Mersch Gallery
  • 2009 Melbourne, June, Silvershot Gallery
  • 2008 Berlin, October, Hamburger Bahnhof, Christies Auction “Help for Afrika”
  • 2008 Dorsten, April, Dorsten Kunstverein, “Early Bird”
  • 2001-2004 Sydney, Harris Courtin Gallery
  • 2001 Sydney, The Painters Gallery
  • 2000 Sydney, TAP Gallery
  • 2000 Sydney, Michael Carr Art Dealer
  • 1999-2003 Sydney, 1+2 artist studios

Solo

  • 2018 Berlin, March, Michael Reid Gallery
  • 2015 Berlin, April, Michael Reid Gallery
  • 2011 Aachen, October, Galerie Freitag 18:30
  • 2009 Düsseldorf, February, Ministerium für Städtebau
  • 2008 Sydney, April, Dominik Mersch Gallery “Losing our Way”
  • 2006 Sydney, April, Marlborough Gallery
  • 2005 Sydney, January, RBG, Rushcutters Bay Gallery
  • 2004 Sydney, April, Harris Courtin Gallery
  • 2003 Sydney, October, Harris Courtin Gallery
  • 2002 Sydney, June, Soho Galleries
  • 2001 Sydney, September, Watch House Gallery
  • 2000 Sydney, October, Gladstone Gallery
  • 1999 Sydney, April, La Lupa

Joseph Marr (born 1979) is an Australian Artist of English/Maori heritage who lives and works in Berlin, Germany.

Working in a number of media including painting, sculpture, video and photography, his art is conceptually oriented, and generally concerned with issues of consciousness.

Wether its sugar, resin, oil paint or plexiglass glass, the medium for me is a metaphor. The metaphor may be very personal or may be generally accepted meanings. Sugar for example is such a widely used material in the world and thats one thing that I liked about using it as a medium in my work because everyone has a daily experience with it and it makes one feel included if we have already an understanding of the material of an artwork. Oil paint however is something that mainly only artists use and for me is better for expressing personal views of the world.

I’ve come from a traditional artist background with my father and grandfather both being artists painting portrait and landscape in oils. When I first started at 18 years of age to paint I was using oil paint and then somehow was using all kinds of paint and fell in love with glossy black enamel house paint. My father said not to use black as it muddies the palette but I kept on with it painting many abstract compositions over ten years with 22 exhibitions in Sydney Australia. In 2005 I went to Spain following a desire to see Picasso and Dali’s works in person as I had grown up with my fathers books of these artists among others. Spain absolutely blew my mind and I fell in love with Europe and hoped I would be back soon. I met a German girl in Barcelona and became friends and had no idea that soon we would marry and I would move to Berlin in 2007.

Berlin was like a dream come true to me as it was a place that held so much promise and still does because of the unfinished parts of the city. The people have been through it all and don’t have the conservative pretentions of other parts of Germany and the Art and Music scenes were the best I had ever seen. As luck would have it I met Helge Achenbach and he quickly bought everything I could make. I would make a series of work and he’d take the lot, it was nothing like Australia where to find good collectors you have to win lotto. Over the next few years I would produce no paintings at all, but large format photo collages and Video artworks. My practise changed 180 degrees from modern Art to contemporary Art because I had changed as a person. I was no longer needing to delve into the depths of subconscious to make very personal paintings of my life experience, I did the exact opposite which was to try and present what we all find as our shared life experience. As I had never been to Art school I operated on intuition and learnt from all the artists around me. Warhol became my biggest influence replacing Picasso and I started to learn how to be objective about the world and translate these experiences into Art. My marriage was starting to fall apart by 2010 and my desires were getting a bit out of hand and started to spill over into my work. I found that understanding desire from a Buddhist perspective helped me to get free of it and observe it. Ideas about a bust of a woman like Marilyn Monroe kept coming to me in my mind but the bottom half was like an anvil which suggested something heavy and dangerous. Not long after this it seamed to me that sugar would be a good fit for the material of this bust because its enticing and attractive like Monroe and heavy like the anvil. I spent ten years working with sugar making all manner of themes into figurative sugar works and at the same time I was making video works dealing with time and perception. All the while I wanted to paint but had better ideas in sculpture and video.

I finally got divorced in 2014 and my work changed again. I had a very tough time with the break up from my wife, being that I was away from my family and suddenly had only friends to support me which were like family. My work shifted to themes of Identity as all my work is Autobiographical it changes as my life changes. I had a disturbing image come to me as a kind of self portrait one day walking along the Landwehrkanal in Berlin. It was me as an adult but in a child’s body. It blew my mind. It came to me daily for two years and it put me on the path of my latest series which has been developing for seven years now called “I.D.entity”. I.D. for identification = who we are in our mind and body, who we identify ourselves to be as a person… And Entity = who we are as an entity, a point of awareness that witnesses the mind and body going through life. These works are busts made in Resin which coloured and transparent allowing us to look into people and see them as an entity and an ego/personality. For this series I want to make sculptures of all kinds of different people and somehow get past our differences to see how we are as entities as well as people. The first seven people in the series are people I know in my life. The process was to sit with each person and share life experiences and use those shared experiences as a sort of doorway into the witness. The generosity of the people I spoke with knocked me out, what was shared on and off camera was so rich in personal suffering and joy that I am grateful even just have had the conversations. These conversations were then the basis of the sculptures, so its a collaborative effort this Identity series.

I am finally back to painting now since our 2020 pandemic year. I took the choice to do something that would bring both the modern and contemporary contexts of Art together for me and it has been like a time machine transporting myself back to my twenties in Australia when I was simply a painter. The choice to do something new and old feels like coming full circle.

Joseph Marr 08.01.2021