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Julianna Dail

Drawing, Fiber, Sculpture / Installation, Visual / Media

Starting with an investigation of patterns, like those found in storytelling, (mis)communication, textiles, and behaviors; my work speaks about comfort versus security, identity, gender norms, or accountability of actions.

About the Artist

Julianna Dail is a multidisciplinary artist working in drawing, paper sculptures, fiber, and installation and has exhibited extensively throughout the Mid-Atlantic region. Solo exhibitions include Realform Project Space in Brooklyn, NY, Frieda O. Weise Gallery in Baltimore, MD, and Groop Multimedia Experimental Gallery in Cleveland, OH. Group exhibitions include George Adams Gallery (NY), CCBC’s The Gallery (MD), Area 405 (MD), Hunter College’s Time Square Gallery (NY), Villa Julie College (MD), Dam, Stuhltrager Gallery (NY), Morgan State’s James E. Lewis Museum of Art (MD), Gallery Four (MD), Case Western Reserve University (OH), Cleveland Institute of Art (OH), Maryland Institute College of Art (MD), Repetti (NY), Maryland Art Place (MD), and School 33 (MD).  Julianna has a BFA concentrating in painting from Kent State and an MFA degree with Departmental Honors from Parsons School of Design. Julianna was awarded a Maryland State Arts Council Individual Artist Grant for works on paper, the Chaim Gross Sculpture Award, and has work in numerous private collections in Pennsylvania, Ohio, Maryland, Virginia, Washington, DC, New York, Chicago, and Germany.

Julianna Dail website website

Featured Work

Photos

This piece is from a body of work based on investigating historical textile patterns. The patterns have been altered to include an ebb and flow, push and pull, or tattered to mended to correlate the movements and moods in our daily lives and in our larger shared history. I chose to work on gridded paper which allows a direct reference to the way embroidery patterns are recorded and passed down in many cultures. There is a connection among people from different times and places when the patterns of daily life are graphed and a connection to many artists who also choose to use the grid. This piece is based off a traditional Hutsul pattern from my family’s culture.
This piece is from a body of work based on investigating historical textile patterns. The traditional Western Ukrainian pattern has been altered to indicate an unraveling from the center but there is enough left to imagine how the pattern can be resewn. I kept the scale of the piece small as a direct reference to the way embroidery patterns are recorded and passed down in many cultures.
If left alone some things become more inherently beautiful and spread out naturally but, sometimes, leaving things alone causes unraveling. This piece is from a series of works about patterns, origins, and moments of impact. I researched a Florentine stitch work because of the issues of provenance with patterns considered to be Bargello. To make this piece I used a punch to cut each circle from salvaged envelopes that had various security patterns. I then glued the circles individually onto the paper and shaded some areas with pencil.
unsubstantiated shows the moment of change and the initial disruption of a pattern becoming more evident over time. This piece if from a series of works about patterns, origins, and moments of impact. To make this piece I used a punch to cut each circle from hand painted and unpainted salvaged envelopes – the circles range from 1/8" up to 5/8". I glued the circles individually into an altered Ukrainian cross stitch design that was handed down to me.
This piece is based off an early American coverlet pattern for a four-harness loom. The original pattern was adapted for the 'Gobelin stitch', a form of Bargello stitch. Many stitch patterns have an unclear provenance despite being labelled as, or considered influenced by, Bargello.
This pattern is based off my family’s Hutsul culture and is laid out in a repetition that would never be seen historically. I then intertwined a gray shadow version of the pattern. I used gridded paper and kept the scale small as a direct reference to the way embroidery patterns are recorded and passed down in many cultures.