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BIO
Marianna Angel (b. 1995) is a Miami-based artist working across collage, performance, and video. Her practice centers around photography as a voyeuristic medium, used to document moments in suspension—glimpses into memory, intimacy, and fragmented identity. Often drawing from devices of self-portraiture, Angel positions herself as both artist and subject, re-articulating the exhibitionist quality of being seen. Even in her non-figurative works, she remains present—the output reading as diaristic traces, quietly cataloging the emotional residue of personal timelines.
STATEMENT
My work explores themes of identity in flux—how it shifts and dissolves under the pressure of changing circumstances, particularly intimate relationships, both platonic and romantic. What begins as nostalgia gradually unravels into layered, intersecting timelines, where I appear in multiple, sometimes contradictory, forms.
Performance in my practice becomes a kind of ego death—a trance state in which I separate from the body, from the “flesh prison.” But it’s no longer just about me. The work is becoming a hollow space—ominous, open—inviting new inhabitants, new interpretations. Through photography, performance, and material experimentation, I explore the blurred edges of personal narrative, using the self as a vessel for shared human experience.
Marianna Angel (b. 1995) is a Miami-based artist working across collage, performance, and video. Her practice centers around photography as a voyeuristic medium, used to document moments in suspension—glimpses into memory, intimacy, and fragmented identity. Often drawing from devices of self-portraiture, Angel positions herself as both artist and subject, re-articulating the exhibitionist quality of being seen. Even in her non-figurative works, she remains present—the output reading as diaristic traces, quietly cataloging the emotional residue of personal timelines.
STATEMENT
My work explores themes of identity in flux—how it shifts and dissolves under the pressure of changing circumstances, particularly intimate relationships, both platonic and romantic. What begins as nostalgia gradually unravels into layered, intersecting timelines, where I appear in multiple, sometimes contradictory, forms.
Performance in my practice becomes a kind of ego death—a trance state in which I separate from the body, from the “flesh prison.” But it’s no longer just about me. The work is becoming a hollow space—ominous, open—inviting new inhabitants, new interpretations. Through photography, performance, and material experimentation, I explore the blurred edges of personal narrative, using the self as a vessel for shared human experience.