Julia Schewalie

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1988* Krasilowka, Gebiet Pawlodar, Kasachstan
2009–2015 Akademie der Bildenden Künste München, Fine Arts Prof. Hermann Pitz
  Lives and works in Munich

Grants / Scholarships

2021 Working scholarship in Vila Paula, Klenová, Czech Republic
2018 Working scholarship at the Center for Polish Sculpture, Oronsko, Poland
  Art sponsorship award of the Kunstverein Aichach

Solo exhibitions

2023 Order of Matter, Evelyn Drewes | Galerie, Hamburg
2021 Shifting Monochrome, Janknegt Gallery, Amsterdam, Netherlands
  Fluid Surface, Galerie Schierke&Seinecke, Frankfurt
2020 Galerie Schierke&Seinecke, Frankfurt
2018 Artist Talk, Solo Exhibition, Galerie Propaganda, Warsaw, Poland
2017 Galerie Rundgaenger, Frankfurt

Group exhibitions

2023 ON AIR, Schloss Düneck currated by Evelyn Drewes | Galerie und Jan Kage, Moorrege
  Art on Paper, Amsterdam, Netherlands
2022 Pan Amsterdam, Netherlands
  Shapes of Effect, Galerie Filser & Gräf, Munich
  Reflections/Spiegelwelten, Museum für Konrekte Kunst, Ingolstadt
  Elb/Hängung #1, Villa am Elbhang, Hamburg
  Art Rotterdam, Netherlands
  Mixed Media, Evelyn Drewes | Galerie, Hamburg
2021 PAN Amsterdam mit Janknegt Gallery, Amsterdam, Netherlands
  Tales of Lines, Janknegt Gallery, Amsterdam, Netherlands
2020 Art Karlsruhe mit Galerie Filser&Gräf, Karlsruhe
  Pam-Artgallery, Ybbs, Austria
  Beyond Black, Kunstraum LAProjects, Landshut
2019 Atmosphären, Galerie Filser&Gräf, Munich
  PAN Amsterdam mit Janknegt Gallery, Amsterdam, Netherlands
  Research Network/Connection, Schafhof-Europäisches Künstlerhaus Oberbayern, Freising
  Eco-Art 2019 PUBLIC NATURE – PRIVAT CULTURE, Archeological site of Efta-Ai-Giorkies, Geroskipou, Cyprus
2018 BlickFang, Kunsthaus Kaufbeuren
  Schein und Spiegelung, G.A.S-station, Berlin
2016 Wettbewerbsarbeiten, Städtische Galerie Eichenmüllerhaus, Lemgo
  Girls Stuff, Lachenmann Art, Konstanz
2015 Space Between, The Stone Space, London, UK
2014 Psychokiller, Galerie Börgmann, Mönchengladbach
2013 Stories of 20 Hands, Molbert Gallery, St. Petersburg, Russia

Our reality, like our personality, is not static, but in constant motion and change. Nothing is as it seems. If the perspective changes, sometimes everything changes. Julia Schewalie's works are enchanting because of their inherent ephemeral fleetingness, which is irritatingly contrasted by an often unusual materiality. The monochrome, perfect at first glance, is quickly broken up on closer inspection. All works always involve their surroundings, are dependent on light, shadow, movement. This is precisely what makes them so appealing, since their appearance changes continuously. The surfaces that change in the light imply a moment of dynamism - triggered by the viewers and their changing viewpoints or by changing light conditions in the room.

At the beginning there is always the open gaze of the artist in search of an unusual reflection. It is a wide variety of materials that arouse her interest. She then sensitively combines them into a large whole in an elaborate handcrafted production process. Following a minimalist-conceptual approach, Julia Schewalie controls material and form, but steps back behind the finished work as a person to allow viewers to engage completely in a dialogue with it. Despite all the reduction, her individual signature runs through the works: She carefully arranges vinyl records sawed and polished into fine slices, stretched nylon threads, cut glass or flamed wooden rods in many rows or squares. Minimally, she changes the angles of the individual parts piece by piece, as in an orchestrated domino game, lined up and yet not static. The incident light refracts differently and creates a lively, ever-changing surface. Iridescent structures made of PVC, asphalt and car foils - Julia Schewalie explores the most unusual materials that do not reveal their nature at first glance. Combining a sculptural process with a painterly character, the aggregate states of the surfaces often remain uncertain.

Anna Wondrak


Julia Schewalie focuses on the reflection of light on monochrome surfaces. The material used in each case is wrested from its original purpose. Then the creative work process takes place: she sorts, constructs, arranges, cuts accurately, composes small geometric parts into large surfaces, creates curvatures and newly structured image surfaces. In this way, the material appears sometimes hard, sometimes soft, without betraying its true state. It seduces the viewer into an interplay between construction and deconstruction. The changing reflections on the surface are always part of the work. The works capture the space together with the natural and artificial light and the viewer in an individual way. They change continuously and know no fixed state.

Anne Uhrlandt