I have been working mainly with fabric because of its diverse potentials, and because of its historical and sociological links with the human body and with human life. But Classical statues are my main source of inspiration. These intriguing human shapes, which seem frozen in time, suggest perpetuity in spite of their fragility. They embody forgotten lives, and their folds conjure many human secrets.
Whether I use fabric or paper as a support, or both together with mixed-media, my artworks draw upon the timeless characteristics of the Classical draped statues. Being usually life-size, these models become personable and induce transfers of emotions and memories. Since I regard these clothed shapes as "containers" of human lives filled with pathos and meaning, my themes deal with the sense of human presence along with its cultural allusions and emotional interactions. The results are metaphors that I explore to add meaningful insights about identity and generic portraiture, war and peace, recovery, and women's role, among other themes.
The subject of draped robes relates to my chosen medium of fabric. The antique stony draped shapes, which were formerly inspired by fabric, in my work return again to fabric. The versatility of this medium allows for creating large 3-D assemblages. Thanks to modern technology, layers of faded images can be seen in transparency, one on top of the other. The resulting visual effects, enhanced by the intervention of various mixed media, offer a plethora of new perceptions about the timelessness of the human body. I call my series of multi-layered textile compositions "mixed-media embodiments".
My latest works with paper are a continuation of my earlier embodiments. They also relate to classically draped body shapes. They are cast paper pulp bas-reliefs on a smaller scale, where the former stony/fabric shape is integrally embedded in the paper/fabric medium. Basically, the content is the medium itself. The addition of translucent collages also generate multi-layers of meanings.
Subsequently, Marie-Laure Ilie's work came under the subliminal influence of her cultural European roots, including Classical studies in Latin and Greek. A visit to Rome’s Archeological Museum in 1992 gave her the insight that ancient robed statues can be the subjects of endless reinterpretations. She says: "I found myself in a room full of headless statues. Even without their heads they were very expressive, full of a certain kind of life that impressed me".
Since 1997, she has developed a new genre of large, multi-layered compositions that show images of ancient Classical robed statues and archetypes that are subverted by modern concerns. She calls these assemblages "mixed-media embodiments". In addition, she is currently creating a new body of smaller works made of cast paper pulp and fabric, equally influenced by Classical draped robes.
Marie-Laure Ilie has exhibited in 18 solo exhibitions and in many important juried and invitational group shows. Her artworks are in the permanent collections of several museums including the Oakland Museum of California and the Museum of Arts and Design in New York, as well as in many private collections.
Because Classical draped robes have been a persistent motif through so many centuries, Marie-Laure Ilie has also researched the influence of this artistic convention on Western art, and she has developed a PowerPoint lecture for various art groups and university students.
M.A. in English Studies, Sorbonne, Paris, France.
Fulbright Travel Grant.
B.F.A. University of Michigan, Ann Arbor, MI, USA.
Studied at many artists' ateliers to perfect training in Paris, France, and in USA.
2006 (traveling exhibition) “Draping and Beyond: Current Works”: — Northcutt Steele Gallery, Montana State University, Billings, MT;
— Appalachian Center for Crafts, Tennessee Tech University, Smithville, TN;
— Art Gallery, McHenry County College, Crystal Lake, IL.
— Art Gallery, University of Texas, San Antonio, TX.
2005 “Current Works,” Rosewood Arts Centre Gallery, Kettering, OH.
2001 “To Be Or Not To Be Stone,” New Arts Program Gallery, Kutztown, PA.
2000 “The Rhetoric of Robes,” Dublin Arts Council Gallery, Dublin, OH.
2000 “Beyond Antique Robes,” Walkway Gallery, the Lincoln Center, Fort Collins, CO.
2000 “Textile Metaphors II,” West Gallery, Grants Pass Museum of Art, Grants Pass, OR.
2000 “Through the Classical Folds,” Main Art Gallery, Chadron State College, Chadron, NE.
1999 “Textile Metaphors,” Gallery 100, the Arts Council of S.E. Missouri, Cape Girardeau, MO.
1997 “Fabric Paintings”, Umpqua Valley Art Center, Roseburg, OR.
1986 "Painted Transparencies," The Brandstater Gallery, Loma Linda University, Riverside, CA.
1984 and 1983 Riggs Galleries, Los Angeles and San Diego, CA.
1982 and 1979 Joy Horwich Gallery, Chicago, IL.
Selected Group Exhibitions:
2017 "Cloth Journey," Hillcrest Center for the Arts, Thousand Oaks, CA.
"Uncommon Threads," San Fernando Valley Arts and Cultural Center, Tarzana, CA.
"Fresh 2017," South Bay Contemporary//Sola Gallery, Los Angeles, CA.
"Duality of Feminine and Feminist," Gallery 66 NY, Cold Spring, NY.
2016 "Art on Paper 2016," Maryland Federation of the Art, Annapolis, MD.
"Uncommon Threads," San Fernando Valley Arts and Cultural Center, Tarzana, CA.
"Heritage and Community," Galeria Gitana, San Fernando, CA.
"Celebrating PVAC Artist Groups," Palos Verdes Art Center, Rancho Palos Verdes, CA.
2015 "Square, TSGNY," Narthex Gallery, New York, NY.
"Media Matters," Foundry Art Centre, Saint Charles, MO.
'"Holiday Juried Show," Palos Verdes Art Center, Rancho Palos Verdes, CA.
2014 "Quilt Visions 2014: The Sky's The Limit," Visions Art Museum, San Diego, CA.
"Materiality," Ann Street Gallery, Newburgh, NY.
"3rd Biennial Fiber Options: Material Explorations," Maryland Federation of the Art, Annapolis, MD.
"All Themes Considered," South Bay Contemporary / Zask Gallery, Rolling Hills Estates, CA.
"The Human Factor," Fredericksburg Center For The Creative Arts, Fredericksburg, VA.
"South Bay Focus 2014," Torrance Art Museum, Torrance, CA.
"Squared," Orange County Creatives Gallery, Laguna Beach, CA.
2013 "Banality and Grace," Lucenec Museum, Lucenec, Slovakia.
"National Fiber Directions," Wichita Center for the Arts, Wichita, KS, (Purchase Award).
"Scythia / The 6th International Biennial Exhibition of Mini Textile Art," Kherson, Ukraine.
2012 "Banality and Grace — 14th Minitextile International Exhibition," Galeria Svu, Bratislava, Slovakia.
"33rd Annual Contemporary Crafts," Mesa Contemporary Arts, Mesa Art Center, Mesa, AZ, (Award).
"A Mosaic of Ideas — SAA," Malaga Cove Library Art Gallery, Palos Verdes, CA.
2011 “Crossing Lines, The Many Faces of Fiber,” Textile Study Group of New York Exhibition, juried by Rebecca Stevens, World Financial Courtyard Gallery, New York, NY.
"TexpoART — 2nd Textile Art International Triennial," Tonitza-Cupola Art Galleries, Iasi, Rumania.
"Southern California Printmaking," Palos Verdes Art Center, Palos Verdes, CA.
2010 “7th International Fiber Biennial,” Snyderman-Works Galleries, Philadelphia, PA.
"Signs Of The Forest," Arena 1 Gallery, Santa Monica, CA.
2009 "National Fiber Directions," Wichita Center for the Arts, Wichita, KS."
2008 “6th International Fiber Biennial,” Snyderman-Works Galleries, Philadelphia, PA.
"Transparencies," curated by Myra Block Kaiser, Braunstein/Quay Gallery, San Francisco. CA.
2007 "12th International Triennial of Tapestry," Central Museum of Textiles, Lodz, Poland. — Catalog.
"National Fiber Directions," Wichita Center for the Arts, Wichita, KS.
2006 “5th International Fiber Biennial,” Snyderman-Works Galleries, Philadelphia, PA.
"L'art de la fibre - La fibre de l'art," Chapelle de Saint-Pierre des Minimes / Arelis, Compiègne, France.
2005 “Materials: Hard & Soft,” Greater Denton Arts Council, Denton, TX. — Catalog.
“The Dress Makes the Woman,” Delaware Center for the Contemporary Arts, Wilmington, DE.
“Fiber Directions 2005,” Wichita Center for the Arts, Wichita, KS.
2004 “The Feminine Eye,” Heuser Art Center, Bradley University, Peoria, IL.
“Itineraire d'un fil,” Bibliotheque Forney, Paris, France.
“Low Altitude/High Altitude,” Gallery of Contemporary Art, University of Colorado, Colorado Springs, CO
“Beyond Warp and Weft,” Cannon Gallery, Carlsbad, CA.
2003 “L’art de la fibre, la fibre de l’art,” Galerie SEMA, Paris, France.
“Crafts National,” Lancaster Museum of Art, PA.
“Craft Houston 2003,” Houston Center for Contemporary Craft, TX.
2002 “American Portfolio,” Chemeketa Community College Art Gallery, Salem, OR.
“Survey Fiber 2002,” Snyderman-Works Galleries, Philadelphia, PA.— Catalog.
“5th International Festival of Tapestry and Fiber Art,” Beauvais, France.
2001 “Outside the Box,” Boehm Gallery, Palomar College, San Marcos, CA.
“La Petite,” Alder Gallery, Coburg, OR.
“2001 Miniartextil Como,” Contemporary International Art Exhibit, Como, Italy.— Catalog.
“Pattern By Definition,” Texas Woman’s University, West Fine Arts Gallery, Denton, TX.
"SOFA, New York," with Snyderman-Works Galleries of Philadelphia, PA.
2000 “The Mythology of Womanhood,” (3 artists show), Indianapolis Art Center, Indianapolis, IN.
"SOFA, Chicago," with Snyderman-Works Galleries of Philadelphia, PA.
1999 “Draping,” (2-artists show), Todd Madigan Gallery, California State University, Bakersfield, CA.
“Three Sculptors,” (3-artists show), Beckstrand Gallery, Palos Verdes Art Center, CA.
“Fiberart International ‘99,” Pittsburgh Center for the Arts, Pittsburgh, PA.— Catalog.
“1999 Miniartextil Como,” Contemporary International Art Exhibit, Como, Italy.— Catalog.
“Materials: Hard & Soft,” Greater Denton Arts Council, Denton, TX.— Catalog.
“Ancient Techniques, Modern Interpretations,” the FIMD Gallery, Los Angeles, CA.
1998 “12th International Miniature Textile Biennial Competition,” Szombathelyi Keptar-Museum of Szombathely, Hungary.— Catalog.
"Route des Textiles,” an invitational international exhibition of contemporary textile art sponsored
by Unesco, Unesco Building, Paris, France.— Catalog.
“Fantastic Fibers,” Yeiser Art Center, Paducah, KY.
“Paper/Fiber XXI,” Arts Iowa City, Iowa City, IA.
1997 “Dwellings,” American Museum of Quilts and Textiles, San Jose, CA.
“Personal Visions,” The Artists’ Studio Gallery, Palos Verdes, CA.
“USA Craft Today ‘97,” Silvermine Guild Art Center, New Canaan, CT.
Signature Gallery, San Diego, CA.
1996 “Silk Roads, Contemporary Art Roads,” Central Museum of Textiles, Lodz, Poland, at Textilmuseum, Heidelberg, Germany.— Catalog.
"Juried Exhibition," Palm Springs Desert Museum's Artists Council National, CA.
“Materials: Hard and Soft,” Greater Denton Arts Council, Denton, TX.
1995 “Paper/Fiber XVIII,” Iowa City, IA.— Catalog.
“Craft America '95,” Silvermine Guild Art Center, New Canaan, CT.
“The Essential Textile,” The Guilford Handcraft Center, Guilford, CT.
“PVAC 1995,” Juried All Media Exhibition, Palos Verdes, CA.
EARLIER: ... Many invitational group and juried exhibitions in galleries and museums.
Awards/ Honors / Museum Collections:
2013 Purchase Award, "National Fiber Directions," Wichita Center for the Arts, Wichita, KS.
2012 Juror's Award, "33rd Annual Contemporary Crafts," Mesa Contemporary Arts, Mesa Art Center, Mesa, AZ.
2008 Permanent Collection, Oakland Museum of California, Oakland, CA.
2005 Juror's Award, “Materials: Hard & Soft,” Greater Denton Arts Council, Denton, TX.
2003 Surface Design Association Award, “Digital Delight,” Kansas City, MO.
2001 Permanent Collection, Museum of Arts and Design, New York, NY.
2000 Live one-hour TV Interview for the program “New Arts Alive,” hosted by James Carroll, Director of New Arts Program, shown in Berks County, Philadelphia, and New York City.
1999 Permanent Collection of the Szombathelyi Keptar-Museum of Szombathely, Hungary.
1998 Honorable Mention, “Paper/Fiber XXI,” Iowa City, IA.
1995 Artists Award, “PVAC 1995,” Palos Verdes, CA.
1993 Niche Magazine: Gold Award.
1993 Art of California Magazine: Silver Award Discovery.
1993 Juror of exhibition “Fiber Now 1993,” Downey Museum of Art, Downey, CA.
1991 Jury Award, “Voyage On The Surface,” the Museum For Textiles, Toronto, Canada.
1988 Collection purchase by the Nycolaysen Art Museum, Casper, WY.
1987 Meadow Foundation Award, Greater Denton Arts Council, TX
Magazine Articles/ Exhibition Reviews/Selected Mentions:
- TextileArt Around the World, in-house publication of Textile-link, the Netherlands, 2014.
- Mary Schoeser, Textiles: The Art of Mankind, Thames & Hudson (2012), p. 58. illus.
- Jacqueline M. Atkins, "Sixth International Fiber Biennial," SAQA Journal, (Fall 2008), p. 15.
- Rebecca Stevens, "12th International Triennial of Tapestry," Surface Design Journal, (Spring 2008), p. 51, illus.
- FiberScene.com, "FiberScene Honors the American Artists" in the 12th International Triennial of Tapestry, Lodz, Poland, (Nov 15, 2007 - Feb 1, 2008).
- Catalog, 12th International Triennial of Tapestry of Lodz, Poland," p.94, illus., p. 204, (May 2007).
- Dana Yu, "Layer by Layer," The Paysano - A&E, UTSA, (Nov 6, 2006) pp. 1-2, illus.
- Jessica Hemmings, "Cloth of Ages," Embroidery, (May-June 2006), pp. 22-24, illus.
- Kalliope, a Journal of Women's Literature & Art, (Vol. XXVIII, No. 1) (2006), 6 artworks pictured in "Featured Artist".
- American Craft Magazine, “Gallery," p. 63, (April-May 2006), illus.
- Pamela Dillon, “Intrigue materializes,” Dayton Daily News, Dayton, OH,(Sept. 18, 2005), p. F3, illus.
- Edward Sozanski, “Artful dresses,” The Philadelphia Inquirer, Philadelphia, PA, (Aug. 12, 2005), p. W30.
- Victoria Donohoe, “Dresses, not always for wearing,” The Philadelphia Inquirer, Philadelphia, PA, (June 26, 2005), p. L13.
- Fiberarts Design Book Seven, Lark Books, Asheville, N.C., (2004), p. 128, illus.
- J. Susan Isaacs, “Survey Fiber 2002,” Surface Design Journal, (Winter 2003), p. 53, illus.
- Françoise Seince, “L’art de la fibre, la fibre de l’art,” Metiers d’Art, (Jan/Feb 2003), p. 32, illus.
- Carla Di Fonzo, “Anything goes,” Intelligencer Journal, Lancaster, PA, (August 8, 2003), p. 3.
- Peggy Whitney Hobbs, “Survey Fiber 2002,” Fiberarts Magazine, (Sep/Oct 2002), p. 59, illus.
- Ron Schira, “Edging toward sculpture,” Reading Eagle, Reading, PA, (February 18, 2001), p. E2, illus.
- Tony Sienzant, “Fabric of Ilie’s pieces marry illusion and reality,” The Morning Call, Allentown, PA, (February 28, 2001), illus.
- Fiberarts Magazine, “Classical and Digital,” (Sept/Oct 2000,) p. 13, illus.
- Textilforum, Hannover, Germany, (January, 2000), p.9, illus.
- Barbara Baily, “Classic Forms, Values of Rituals,” Grants Pass Courier, Grants Pass, OR, (May 3, 2000), p. 5B, illus.
- American Craft Magazine, “Gallery,” p.100, (February-March, 2000), illus.
- Peggy Whitney Hobbs, “Anima/Animation: The Two Worlds of Marie-Laure Ilie,” Surface Design Journal, (Winter 1999), pp. 21-25, illus.
- Meredith Grenier, “Three of a Kind,” The Daily Breeze, Torrance, CA, (January 21, 1999), p. B8, illus.
- Brian J. Arthurs, Arts Section, The Beach Reporter, Manhattan Beach, CA, (January 21, 1999), p. 51, illus.
- Textilforum, Hannover, Germany, (June, 1996), p.15, illus.
- Fiberarts Design Book Five, Lark Books, Asheville, N.C., (1995), p.30, illus.
- Astrid Hilger Bennett, “Marie-Laure Ilie: A Decade of Silk Paintings and Fabric Transparencies,” Fiberarts Magazine, (March-April), 1993, p.72, illus.
- American Craft Magazine, “Gallery: Fiber,” (February-March, 1993), illus.
- Tuckman and Janas, “Silk Painting,” North Light Books, Cincinnati, OH, (1992), p. 82, illus.
- Burlington Hawk Eye, Burlington, IA, (November 1, 1992), illus.
- Fiberarts Design Book Four, Lark Books, Asheville, N.C., (1991), p.155, illus. and p.190, illus.
- American Craft Magazine, “Gallery: Fiber,” (April-May, 1990), illus.
- Carolyn Price Dyer, “Contemporary Silk As Art,” Fiberarts Magazine, (Summer, 1990), pp. 56-57, illus.
- Bernice Colman, “Contemporary Silk As Art,” Surface Design Journal, (Fall, 1990), pp. 19-20, illus.
- EARLIER reviews and feature articles: Gale Gazette, Gale Research Company, Detroit, MI,(1987); American Craft Magazine, “Gallery: Fiber,” (1986); “The Arts,” The Press Enterprise, Riverside, CA, (1986); Ione Oliver, “The Very Fabric of Art,” The Sun, San Bernardino, CA, (January 29, 1986) AA1-4, illus.; ”Art,” The Ann Arbor News, MI (1981); “Features,” The Ann Arbor News, Ann Arbor, MI (1980).