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Marlene Angeja is a Bay Area artist who has been exhibiting and teaching for over twenty-five years. She completed her MFA at California College of the Arts in 1990, where she received the Barclay Simpson Award for her multi-media installation, The Yellow Wallpaper. She has shown at the Centro do Mar Whaling Museum in Horta, Faial, Azores, the Centro Cultural in Ponta Delgada, Sao Miguel, Azores, Amy Simon Fine Art in Westport, CN, the Euphrat Museum in Cupertino, CA, Porter Troupe Gallery in San Diego, Stephen Wirtz Gallery, Walter & Mcbean Gallery, and Southern Exposure in San Francisco. Her work is in the collection of the Capelinhos museum in Faial, Azores, Portugal as well as private collections. She recently retired after nineteen years of teaching in the Department of Art and Art History at San Jose State University.


Current Painting: In order to engage directly with materials I begin each painting without ideas or references. I react to the surface of the canvas with marks and colors, adjusting the composition through layers of paint. This layering is my way of working out form. It is about destruction as well as the attempt to fix failures. I find it interesting how graffiti on walls is often covered over with white paint. This act of covering is an attempt to negate what is underneath but it fails at that and instead results in a hybrid mark. Often, in my own attempt to cover something in a painting, I stumble across its solution. Content is essential. It is what motivates me to paint. But I am not interested in willing it or defining it. I’m interested in the search. This involves a slow process of waiting for the painting to clarify its meaning. When a painting works, when it is finished, there is a sense of familiarity and recognition.

Past Work: Unlike my current paintings, the works archived in the Past Work section and made between 1990 and 2012 did begin with references. I called these works “narrative landscapes.” They took their subject matter from literature and places. These multi-media projects were anchored in my painting practice but they also made use of film, video, installation, and the internet. Because I came from a collage background where, as Kurt Schwitters wrote, you “adjust materials of different kinds to one another,” it was natural for me to think of these mediums simply as different materials being adjusted on a larger ground.



  • 1990 California College of the Arts, San Francisco. MFA, Painting
  • 1975 Saint Mary's College, Moraga, Ca. BA, Painting
  • 1973 Sacramento City College, Ca. AA, Fine Art

Selected Exhibitions

  • 2019
    • Marlene Angeja: This Storm is Called Progress, Fourth Wall Gallery, Oakland, Ca.
  • 2018
    • Eight at The Fourth, Fourth Wall Gallery, Oakland, Ca.
    • Ground: Marlene Angeja and Manuel Angeja, Gavilan College Art Gallery, Gilroy, Ca.
  • 2015
    • Five from 415. Amy Simon Fine Art, Westport, CN.
  • 2013
    • Faculty Exhibition. Natalie & James Thompson Art Gallery, San Jose State University
  • 2009
    • In Between: The Tension and Attraction of Difference. Euphrat Museum of Art, Cupertino, Ca.
    • Passive/Aggressive. Southern Exposure, Video screening at Artist Television Access, San Francisco
  • 2008
    • Capelinhos: História, Geografia, e Migração. Centro Do Mar, Whaling Museum, Horta, Faial, Açores, Portugal
    • Obsessive Nature, Winter 2007-2008 Exhibition curated by Jane Salvin, Heritage Bank, San Jose
  • 2007
    • Olhares de 2 Artistas Luso-Americanas. Centro Municipal de Cultura, Ponta Delgada, Azores, Portugal
    • Faculty Exhibition. Natalie & James Thompson Art Gallery, San Jose State University
  • 2006
    • Marlene Angeja: Recent Paintings. Stephen Wirtz Gallery, San Francisco
  • 2005
    • Women in Portugal and the Diaspora. Worth Ryder Gallery, UC Berkeley
  • 2004
    • Monumental. Video screening. Southern Exposure Gallery, San Francisco
    • CCA See. Oliver Art Center, Oakland, Ca.
  • 2001
    • Talking to Myself: Culture, Fantasy and the Domestic Condition. Porter Troupe Gallery, San Diego, Ca.
  • 2000
    • Spring Exhibition. Porter Troupe Gallery, San Diego
  • 1999
    • Twelve Attitudes: A Multimedia Exhibit of Women Artists. Porter Troupe Gallery, San Diego
  • 1998
    • Pictorial Faculty Exhibition. Natalie & James Thompson Art Gallery, San Jose State University
    • Art in City Hall. Veteran's Building, San Francisco
  • 1996
    • Confess. Southern Exposure at Project Artaud, San Francisco
    • Marlene Angeja: Recent Work. Porter Troupe Gallery, San Diego
    • Marlene Angeja and Hifumi Ogawa. Matrix Gallery, Sacramento
  • 1995
    • About Drawing. Meridian Gallery, San Francisco
    • American Color. Louis Stern Gallery, Los Angeles and Porter Troupe Gallery, San Diego
    • Embarcadero Window Series. Curated by Yerba Buena Center for the Arts, San Francisco
  • 1992
    • Nine. Walter and McBean Galleries/SFAI, San Francisco
    • Telling Stories. Preito Gallery at Mills College, Oakland
  • 1991
    • Chain Reaction. San Francisco Arts Commission Gallery, San Francisco
    • Wet Paint. Southern Exposure Gallery, San Francisco
  • 1990
    • The Yellow Wallpaper Installation. The Alice Hotel / Alice Arts Center, Oakland, Ca.
    • California College of the Arts Third Annual Barclay Simpson Awards Exhibition. Barclay Simpson Gallery, Lafayette, Ca.

Public Collections

  • Interpretation Center of Capelinhos Volcano / Capelinhos Museum, Faial, Azores, Portugal

Awards and Publications

  • 2012
    • 25 Years of the Barclay Simpson Award, Exhibition Catalog, California College of the Arts
  • 2008
    • Capelinhos: História, Geografia e Migração, Açoreano Oriental, June 29
  • 2003
    • Rosa Simas ed., Women in the Azores and the Immigrant Communities, Empresa Grafica Açoriana:Ponta Delgada
  • 1992
    • Kenneth Baker, Art Institute's Topical Turn, San Francisco Chronicle, Sept 9
    • Robert Friedman, Female Culture, San Francisco Sentinel, Sept 24
    • Nine, Exhibition Catalog, essay by Patricia Davidson. Walter and McBean Galleries, San Francisco Art Institute
    • SECA nomination, San Francisco Museum of Modern Art
  • 1990
    • Barclay Simpson Graduate Award, California College of the Arts
  • 1988/1989
    • California State Fellowship

Teaching and Residencies

  • 1997-2016
    • Department of Art & Art History, San Jose State University, San Jose, Ca., Lecturer.
  • 2002-2003
    • California College of the Arts, Oakland/San Francisco, Ca., Adjunct Professor
  • 1999
    • Artist in Residence, Ecole de Beaux Arts, Aix-en-Provence, France, July.