Audra Wolowiec is an interdisciplinary artist whose work oscillates between sculpture, installation, text and performance with an emphasis on sound and the material qualities of language.

Wolowiec's work has been shown internationally and in the United States at MASS MoCA, CCS Bard Hessel Museum, Art in General, Jordan Schnitzer Museum of Art, Stony Brook University, Studio 10, The Poetry Project, and the Center for Performance Research. Her work has been featured in BOMB Magazine, Modern PaintersThe New York TimesThe Brooklyn RailCAA Journal, Sound American, and reductive journal. Residencies include Bemis Center for Contemporary Art, Complex Systems Art and Physics Residency at the University of Oregon, supported by a National Science Foundation Grant, and Dieu Donné.

Wolowiec currently teaches at Parsons School of Design, SUNY Purchase, and Dia:Beacon. She is the founder and director of the publishing platform Gravel Projects.


audra (dot) wolo (at) gmail (dot) com

CV download






prompt: issue 1, Workbook for a Performance, Audra Wolowiec and Jenni Crain
Workbook for a Performance is a language-based performance score by Audra Wolowiec, based on interventions of text from Virginia Woolf's The Waves. It invites multiple interpretations, embodied silences, collective performances, and participatory readings. With the words Virginia Woolf wrote in her diary on the day she finished The Waves as another form of prompt, I have never written a book so full of holes and patches; that will need rebuilding.

BOMB Magazine, Audra Wolowiec by Emmalea Russo
The results do not point at the results—they are rich process and rhythm cues, evidence that language is audible even in its silence, and visible in the margin and spaces of its arranging and rearranging. Wolowiec is not presenting conclusions. She is inviting the viewer to investigate the ineffable.

Hyperallergic, What Isn't There: Audra Wolowiec's Sounds, Scents, Erasures, Thomas Micchelli
Much of Wolowiec’s work is about what isn’t there. Or, more to the point, the elements that are endowed with shape, surface, and weight often function as delivery systems for those that are not, literally or metaphorically. Sound waves, light beams, and elided texts define the core of her practice.

College Art Association (CAA) Art Journal Open, Critical Bibliographies: Poetics of Sound and Language
The page becomes a destination, a portal, and a place of encounter. 

Feldenkrais Journal, Issue 29 | Voluntary + Involuntary Movements: Somatic Practice in Contemporary Art, interview by Helen Miller

Sound American, Issue 13 | How We Listen | edited by Nate Wooley

Fell. Magazine | Interview


New York Times, Resonant Structures, 2016
Resonant Structures, Stony Brook University, 2016 (pdf)
Reductive Journal, Issue FOUR, 2015
La Vague Journal, Negative Exempla, 2015
Modern Painters, 24 Artists to Watch in 2015, 2014
Hyperallergic, Public Art in the Sonic Realm, Charles Eppley, 2014
Time Out NY, Hear that honk? It’s the music of the city, Tolly Wright, 2014
Colorado Public Radio, Sound & Text at Counterpath, Chloe Veltman, 2014
Westword, Sound System, Bree Davies, 2014
The Artist Catalog, Volume 1: Winter Issue, 2013 (pdf)
Gwarlingo, CONCRETE SOUND, collaboration with Christine Shan Shan Hou, 2013
Urbanite Baltimore, Information Interrupted, Cara Ober, 2013
Brooklyn Rail, In the Use of Others for the Change, Thomas Micchelli, 2012
Bushwick Daily, Sound and Space of Audra Wolowiec, Katarina Hybenova, 2012