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Marnie WEBER’s practice encompasses performance, video, sculpture, installations and music.  Weber creates dark, uncanny, and dream-like worlds that linger between fantasy, reality, and bizarre magic. The narratives and environments that WEBER creates are eerie, and often the installations are inhabited by female characters and mannequins disguised in ornate costumes, wigs, and masks. These creatures often take the form of grotesque half-human, half-animal hybrids, where fat bears in tutus are as normal as crying clowns in Western-style Saloon settings. The mythological anthropomorphizing of animals can be seen in most of Marnie WEBER’s photographs and collages made during the last 30 years. Works like The Jellyfish Afternoon (1998), One Hundred Bunnies Wait for Century Plant to Bloom (1998), Behold I Am Alive Forevermore (2010) or The Owl (2018) are examples of how the artist scrambles images and narratives, and uses the cut and paste technique as a method and matrix for her films. Her carnivalesque works have a very cinematic quality that reference stage sets, cheap Hollywood productions, and B-Movies gone wrong. The title of her 2016 retrospective exhibition Once Upon a Time in Forevermore at MAMCO, Switzerland, suggests her work’s connection to fairytales and folklore. The psychedelia in these neo-gothic works have elements of repressed counter-culture and American popular culture and embraces Walt Disney and Charles Manson at the same time that it cuddles a perverted David Lynch-like fantasy.