PIPER O'NEILL
American, born 1978

SOLO EXHIBITIONS
2016 WestWork, Friesen Gallery, Sun Valley, ID
2015 Electric West, Friesen Gallery, Sun Valley, ID
2014 Starry Skies Above, Friesen Gallery, Sun
2014 Marking Time, Winston Wächter, Seattle, WA
2012 Blue Sojourn, Verge Art Fair, Miami, FL
2012 Indigo Blue, film installation, Winston Wächter
2011 A Game of Graces, Winston Wächter
2011 Cigar Street, E4C, video installation, 4Culture Gallery
2011 Baby Cloud, Casper Babypants music video
2009 Silver Work, Sterling Savings Banks, Mercer Island
2009 New Work, Area 51, Seattle, WA
2007 Corybantic Light Installation, Area 51
2007 Corybantic Calm is the New Blue, Area 51

GROUP EXHIBITIONS
2015 Tigers on Tour, Woodland Park Zoo and Seattle Convention Center, Seattle, WA
2014 Mad Campus | MadArt sculpture exhibition, University of Washington campus, Seattle, WA
2014 FILTERED: What Does Love Look Like? Friesen Gallery, Sun Valley, ID
2012 Art Porn, Verge Art Fair, Miami, FL
2012 Light Assembly, Verge Art Fair, Miami, FL
2012 Petits Tableaux, Winston Wächter
2012 10x10x10xTieton Juried exhibition, Tieton Arts & Humanities, Tieton, WA
2012 Capitol Hill Block Party/SIFF Juried Short Film Competition, Seattle, WA
2011 Exquisite Allegory, Winston Wächter
2011 Pratt Fine Arts Center & Seattle Design Center
2010 Heaven and Earth 2, CoCA outdoor sculpture exhibition, Seattle, WA Tenuous Truths, ArtsWest Gallery, Seattle, WA
2009 What is Green, San Juan Island Museum of Art, Friday Harbor, WA
2009 CoCA Art Drawing Marathon
2007 CoCA Art Drawing Marathon

HONORS | RESIDENCIES
2015 Artist in Residence, Museum of Glass, Tacoma, WA
2014/15 Emerging Artists Prequalified Roster of Public Art, Office of Arts & Culture, Seattle
2013-present Trustee, Board of Directors, Pratt Fine Arts Center
2013 National Endowment for the Arts Artist in Residence, Pratt Fine Arts Center
2012 Judge’s Award, 10x10xMighty Tieton juried group exhibition, Tieton, WA

COLLECTIONS
Seattle International Film Festival, Designer, Golden Space Needle Award SRM Development
Jerry Anches
Bang Office Interiors
Renee and Carl Behnke
Leslie and Dale Chihuly
Tom Douglas Restaurants
Norma and Leonard Klorfine
Alison and Len Milliman
Julie Tokashiki and Tom Skerrit
Volterra Restaurant, Seattle and Kirkland, WA
Woodland Park Zoo

EDUCATION
2014 Film Studies, Central Saint Martins School of Art, London, UK
2014 Fine Art Studies, Chelsea School of Art, London, UK
2014 Advanced Coursework, Cambridge University, Cambridge, UK
2006 Masters of Communication, Digital Media, University of Washington, Seattle, WA
2001 Bachelor of Fine Arts, Illustration & Experimental Animation, Parsons School of Design, with an Honors in Advanced Liberal Arts, The New School University, New York, NY

SELECTED BIBLIOGRAPHY
2014 Jen Graves. "What's That By the Side of the Road? UW Becomes Mad Campus.The Stranger Slog, Monday, September 15th, 2014.
2014 Matthew Kangas. “Marking Time” review. Art in America magazine, May, p.176. Cover, The Stranger, Vol. 23, No. 21, January 22-28.
2014 Claire Reiner. “Marking Time: Piper O’Neill” Vanguard Seattle, January
2013 Matthew Kangas. “Reflections on Collecting” Visual Art Source, November Profile, Studio Visit Magazine, Volume 21 Kevin Noschese. Artist in Residence Profile, @Pratt magazine
2012 Trenton Flock. Profile, Vanguard Seattle, October
2011 Suzanne Beal. Profile, Art Ltd magazine, November/December
2011 Matthew Kangas. “Exquisite Allegory” review. Art Ltd magazine, March/April
2011 M. Lauren. “One Seat for Two Disciplines, The Chair Project.” 425 magazine, March
2011Michael Upchurch. “In Exquisite Allegory’ at Winston Wächter, every picture tells at least one story.” The Seattle Times, February
2011 Sarah Elisabeth Caples. “At Winston Wächter: Homecoming and Exquisite Allegory.” Subterfuge Seattle, January
2011 Lauren Lynch. “A Peek at the Chair Project.” City Arts Magazine, February Lauren Lynch. “Exquisite Allegory.” City Arts Magazine, January
2010 David Francis. “Heaven and Earth 2.” CoCA Publications, September
Michael Upchurch. “Lines between nature and artifice blurred in outdoor exhibit.” The Seattle Times, July 1, 2010