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Statement

I find it interesting how graffiti on walls is often covered over with white paint. This act of covering over is an attempt to negate what is underneath, but it fails at that and instead results in a hybrid mark. I’m interested in this hybrid mark. Often, in my own attempt to cover something in a painting, I stumble across its solution and, as a result, its content. Finding this requires patience. It is a slow process of waiting for the painting to clarify its meaning. When a painting works, when it is finished, this brings a sense of familiarity and recognition. Happily, this often results in a title coming into my head – usually through associations to something I’ve been reading or music I’ve been listening to. The title does not refer to what I set out to make nor does it define the work. It simply grounds the painting in a moment.

Bio

Marlene Angeja lives and works in Oakland, California. Her abstract paintings are an exploration of the content that arises as materials, marks, shapes, and colors interact. She completed her MFA at California College of the Arts in 1990, where she received the Barclay Simpson Award. 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.

CV

Education

  • 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

  • 2018
    • Fourth Wall Gallery, Oakland, Ca.
    • Ground, Gavilan College Art Gallery, two-person show, Gilroy, Ca.
  • 2015
    • Five from 415. Amy Simon Fine Art, Westport, CN.
  • 2013
    • Faculty Exhibition. Natalie&James Thompson Art Gallery, San Jose State University
  • 2011
    • Farol. Interpretation Center of Capelinhos Volcano / Capelinhos Museum, Faial, Azores, Portugal
  • 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
    • Volcão dos 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
    • 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 2000 Group 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
    • Jose Bedia / Marlene Angeja. Porter Troupe Gallery, San Diego
    • Marlene Angeja / 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 Center for the Arts, Yerba Buena Gardens, 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
    • California College of the Arts Third Annual Barclay Simpson Awards Exhibition. Barclay Simpson Gallery, Lafayette, Ca.

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. Courses
  • 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.