Vanessa Marsh

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Men Talking, 2007 C Print 15x23 © Vanessa Marsh 2007
Waiting Area, 2008 C Print 15x23 © Vanessa Marsh 2008
Business Men Meeting, 2007 C Print 15x23 © Vanessa Marsh 2007
Crowd, 2008 C Print 15x23 © Vanessa Marsh 2008
Airplane, 2006 C Print 15x23 © Vanessa Marsh 2006
Car and Trailer C Print 15x23 © Vanessa Marsh 2006
Windmills, 2006 C Print 15x23 © Vanessa Marsh 2006
House, 2005 C Print 15x23 © Vanessa Marsh 2005
Waiting, 2004 C Print 18x23 © Vanessa Marsh 2004
Meeting, 2004 C Print 18x23 © Vanessa Marsh 2004
Walking, 2004 C Print 18x23 © Vanessa Marsh 2004
Workers, 2004 C Print 18x23 © Vanessa Marsh 2004
© SFAC 2008
Girl Standing, 2009 C Print 15x24 © 2009
Smokestacks, 2010
Boarded Up House Chromogenic Prints
Radio Towers, 2011 Chromogenic Print Variable © Vanessa Marsh
© Courtesy of the Artist and Kala Art Institute
Bus, 2012 Photography Variable
Plant Study #4 © 2014 Vanessa Marsh
Falling, 2014 Chromogenic Print 40x50" © 2014
Landscape 22, 2015 Archival Pigment Print From Photogram Limited Editions Available In 20 X 20, 30 X 30, And 40 X 40 Inches © Courtesy of the Artist and Dolby Chadwick Gallery
Landscape #1, 2012 Archival Pigment Print 20 X 20 © Courtesy of the Artist and Foley Gallery
Vanessa Marsh
Quick Facts
Seattle, WA
Birth year
Lives in
San Francisco
Works in
San Francisco
Western Washington University, 2001
California College of the Arts, 2004, MFA
models, photography

Always Close but Never Touching is a body of work involving both paintings and photographs. The paintings are 3 dimensional and comprised of models built on top of gesso board and surrounded by a mixture of galkd and oil paint. The photographs are images taken of models held in front of my camera against real skies, giving the illusion of real people and places. Some models are made with the express purpose of photographing while the paintings are built to function as their own autonomous works.

The inspiration for the scenes is drawn from my memories of the landscapes of Northern California and Western Washington. The specific details of the sites I am referencing have been transformed over time in my mind—influenced by subsequent observations, events, and occurrences. Alluding to different locations and experiences simultaneously, the works are of unknown, imagined places yet are also evocative of familiar situations.

The flooded and polluted landscapes are in transition, rendered temporarily useless and are lonely and isolated. There are often figures in the scenes depicting a snippet of a relationship, or a moment in a narrative. Many of the scenes represent forgotten places on the outskirts of town; places one would see out of a train window or speeding by on the freeway. The works evoke a sense of quiet helplessness; of being abandoned when you thought you would be cared for.

Vanessa Marsh
San Francisco, CA 2008

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