I have always been drawn to the aesthetics of silence and space and the edges of things which I explored as an undergraduate studying piano and composition. One of my greatest inspirations is Miles Davis. He expressed these things elegantly and boldly in his use of silence and intentionally awkward sounds–the rough edges–within his music.
As a visual artist, I am also inspired by the aesthetics of silence and space and edges. I am particularly inspired by the architectural grids found everywhere from construction sites to forests. I am drawn to the fading ephemeral light, air, and shadow, and the spaces around and within them. To me, they represent the underlying scaffolding that makes up our world.
My sculptures are sticks lashed together with wire and are painted to create organically geometric towers. I use sticks because I like their soft and supple qualities and their imperfect lines. They range in size from 3 inches to 7 feet tall. These towers consist of the grids that support them. They resemble figures, totems, nests, or huts, and in groups, they take on new relationships and new meaning with each other and their combined shadows.
In the cycle of my work, I make charcoal drawings and oil paintings based on the sculptures. They are portraits of particular pieces or blown up abstractions of their lines and spaces.
In all of my work, the subtleties of light and air, spatial silences, are my primary considerations.
Julia Bloom makes paintings, drawings and sculpture. She studied at the Maryland Institute College of Art, the Boston Museum School and Berklee College of Music in Boston. She has had solo and two person shows at Addison Ripley Fine Art in Washington, DC; the Greater Reston Arts Center in Reston, VA; Catalyst Projects and Arnold & Porter in Washington, DC and Lucky Street Gallery in Key West, FL. Her work has been included in group shows at the Salzland Museum in Schoenebeck, Germany; the Katzen Arts Center at American University in Washington, DC; the Harvard Center for Hellenic Studies in Washington, DC; McLean Project for the Arts, in McLean, VA; Kehler Leddell Gallery in New Haven, CT; BlackRock Center for the Arts in Germantown, MD; the Washington Historical Society in Washington, DC; the Athenaeum in Alexandria, VA; Marlboro Gallery at Prince George's Community College and at Addison Ripley Fine Art in Washington, DC.
Bloom was awarded 2019, 2018, 2017, 2016 and 2014 Artist Fellowship Program Grants from the DC Commission on the Arts and Humanities, an Award of Excellence in 2012 from the James Renwick Alliance, an Individual Artist Grant from the Virginia Commission for the Arts, a fellowship from the Morris and Gwendolyn Cafritz Foundation and seven fellowships from the Virginia Center for the Creative Arts.
Publications and articles about Bloom’s work include The Washington Post, The Washington Times, Northern Virginia Magazine, Poet Lore, Southern Accents and New American Paintings. Bloom’s work is in several public and private collections, including the University of Virginia School of Law, Wheat First Securities and the U.S. Embassy in Lima, Peru. She lives and works in Washington, DC.