2018-2020 
Memory Pool , 2018
​Memory Pool Floor (detail)
‘The Memory Pool’ is initially very personal installation about memory and gradually transformed into a ‘container’ space for audience participation. Dancers, students, teachers and friends were invited to experience the room which included a video of day and night water reflections and accompanying sound track .The audience was invited to sit on floating furniture or in the ‘water’. Some of the participants reactions were recorded and included in a book documenting the entire installation.
Memory Pool Installation (detail) and book                                                       
Colossal Kaleidoscope 2018
In this “Altered Perception“ series of art works I 'm discovering how light transforms our perspectives of the physical universe.Do  we believe what we see? How do we know what we actually see?
The recent 'proof' of the existence of black holes fascinates me and I want to  explore the idea that through observation and our collective imagination, truth and fiction can meld into one. 
​The Colossal Kaleidoscope is room-sized sculpture that engages the viewer with ever-changing, brilliant patterns of a fragmented reality. Unlike traditional kaleidoscopes and depending on its surroundings, this sculpture reflects the room and the viewer in it. Relative to its position, the patterns created are as unique as the person looking through it.
​ I want to allow for a space that is both invented and real, where the viewer can create their own dazzling cosmos.​
Kaleidoscope (details)
Seat of Power, 2019
Newspapers, once vital symbols of stability, and conveyors of information or ‘truth’ are quickly disappearing, or morphing into the virtual space that we now all exist in. To speak to this, I wanted to make a piece that was about physical weight and time, in order to push back against all the instant, simulated moments that inundate our lives with newly assigned value. While the original idea was very much politically motivated by the “fake news” headlines, the material itself has a wider meaning for me as a symbol diminishing relevancy, advancing technology, money and the passage of time.
“The Seat Of Power” is a sculpture made from compressed newspaper that I collected, unfolded, stacked, sandwiched between boards, measured traced, drilled, cut into shapes, then skewered, pressed and bolted together into an object in the shape of a chair and an ottoman.
“The Seat of Power” is made of paper and will certainly disintegrate before long as it is after all a “fake chair”… what of all the compressed truths inside it ?
Reading room installation and Seat of Power (detail)
Rosy Future, 2018
Conceived in November of 2018 in response to all the women running for congress in the midterm election, Rosy Future was an election action and an exploration of the power of womanhood.
 Intrigued by the intersection of textiles and politics, I crocheted the dress form of “Rosy Future” as a signpost and monument to the women who are finally (and again) gaining political and personal power in our society.
The sculpture is made from weather resistant materials like the 60% violet shade cloth  used in greenhouses to increase growth and blooms in flowers and vegetables. 
“Rosy Future” can be installed indoors with actual grass sod around the base, to function as a forceful, symbolic monument. It is larger than life and hopefully inspires the audience to enact positive change for the future. 
There is an interactive component with a “How to“ video link. It documents the process of making “Rosy Future” and is a clear roadmap for those who would like to build their own.
Rosy Future Alloway Gallery Installation 2019
Forest Bath Installation, 2019
Forest Bath (detail) Moss rock seating
This installation is an enveloping montage of photographs of the forest recorded over the course of a year looking out the same window. The  trees viewed through the window flow into the forest images encircling the room like a calendar or a diary.
The center the space is filled with “moss” seating from which to view the trees in all the seasons.
There is an accompanying sound track of bird and forest sounds.
​
Forest Bath (detail) "September to May "
Voices of Trees , 2019
Voices of Trees Installation 
I drive to my studio everyday through miles of forest, thinking about nature and the magical qualities of trees.
I am fascinated with the mysticism and spirituality of a forest, and instead of always taking, I wanted to honor and bring awareness to the trees by giving them something.
Large ceramic jewels hang from the branches like natural talismans to empower and protect the trees(mostly from us). The pendants are kinetic and spin or turn depending on their placement or the direction of the wind.
The organic shapes and colors of the giant beads suggest a history, like an unnamed religion . All of a sudden the forest becomes the setting of a mysterious performance where humans are only the observers and the trees are the silent masters.

Forest beads from Marta Baumiller on Vimeo.

Click to set custom HTML
Voices of Trees Beads(details)
 Governors Island Installation Wallpaper, 2019
A documentation of the Governor's Island Portal Kaleidoscope installation which took place over 5 weekends in September, 2019. The images show the public interacting with my giant Kaleidoscope situated on a porch of the Colonels row officers homes, which are now used as art exhibition spaces. Chosen from over 1000 photos taken over the course of the installation, this non repeating "wallpaper" records the individual stories and experiences of the people that come to enjoy the Governor's  Island park each summer.
​Though originally  designed  to contemplate the surrounding landscape, this kaleidescoping viewer became much more about individuals looking at each other. And in turn, about me looking at them.
Kaleidoscope Installation Photo Documentation.
Hammock Flag, 2019
​What is the form of home? I am interested in our complex perceptions of everyday forms. The old hammock hanging in my yard is rarely used, and came from a yard sale, yet its form says "relaxation" or maybe even "privilege" . Some hammocks imply alternate ways of thinking, suggesting impermanence and travel. Because of this dual connotation both as a symbol of leisure and of survival, I wanted to explore the form by making a biographical hammock flag. It become a safe space like a portable home, one that includes my own memories, toys, and even cutlery. Using saved scrap fabric, ornaments, found objects and bric-a-brac, I quilted an abstract,​ personal flag. I fly it between two trees like a sanctuary.
Hammock Painting details
Port D'or, 2019
Port D'or Installation at The Money Show.
As part of my ongoing interest in exploring the possibilities of building a more inclusive, utopian future through art actions, I built this hammock sculpture  out of mylar emergency blankets and old oars.The fragile, golden material designed to be used in extreme and desperate situations is contrasted here with the leisurely form of a hammock, alluding to the strikingly different perceptions of value in our not yet pluralistic society.
I am interested in creating something that did not exist before, where the meaning does not obviously emerge , but must be constructed differently by each person. I’d like the audience to sense the familiar and the foreign, the shelter and its precariousness. Where are we going? Is there enough gold for everyone? The absurdity is that its only plastic. All is illusion.”
Port D'or details and Money Show Installation
Polynation Installation, 2019
Welcome to Polynation, a maximal sensory relaxation and living locale. The pieces installed here seek to extend the growing season and form a hybrid meld of plastic compounds, commodified product wrap, soft surround seating and home grown live greenery to encourage stress-free sociability and hint at an alternately imagined future. The work here promotes an interplay of space, stretches time for the viewer and encourages aesthetic and attitudinal enlightenment. A cross pollinating micro utopia is in full bloom. Enjoy.
Polynation opening
Polynation Tapestries and details
Camera of Curiosity, 2019
Camera Of Curiosity
My  camera obscura is an experiment in experiential art making. It is a personal viewer reminiscent of trust games in that it involves a partnership in initially navigating without eyes. It is a Camera of Curiosity, a strange and unfamiliar object that eventually allows one to see what is behind you. The always surprising images are only viewed by the participant and only recorded by memory. They appear gradually and slowly come into focus like mysterious apparitions of another world. One that is now upside down and backwards yet still strangely familiar. 
By capturing the living moment, with all parts in focus at the same time, the mystery of the camera’s image continues to intrigue us with its elusive reality, in a world transformed, floating between fact and fiction.
​
Drawings and plans for Camera
Meeting, 2020
This is the last installation that I completed just at the start of the pandemic. At the time  I was exploring ideas of living in the moment and thinking of unity and togetherness.I wanted to serve tea to those gathered around my table. I gave away ceramic bowls and embroidered napkins. I made vessels with multiple spouts and openings, bowls to contain quantities.
​I was thinking of the politics of the "us versus me", which seems so prescient now in our time of social contracts. Reflecting on the images , I see the empty loneliness  and separation. Even the colours in the piece are uncharacteristically  faded and muted as if foreshadowing our present moment of stillness.
​​
Meeting details​
Bartr Installation, 2020
“bARTr”
This installation and interactive show opened in the midst of the pandemic at the Alloway Gallery in the fall of 2020.
 
A collection of one hundred handmade, unique ceramic vessels or bowls of various shapes and sizes is placed in a gallery and “bartered “ or traded with the audience. Exploring the process of exchange, ideas of value, alternate economies, individual creativity, aesthetics and  above all social contracts.
The viewers select a bowl and perform a corresponding trade  by leaving a note, poem, story, drawing or object of their choice.They then hang their barter on the wall and take their vessel home.Drawings or ink paintings of the vessels are hung around the walls of the gallery as an archive or memory. Explanatory texts written on the walls guide the viewer through the process.
Transactions empty the gallery of all the exhibited ceramic works as the show progresses leaving only the barter notes with individuals’ names and vessel drawings.
The images from the audience become part of an archive and a virtual continuation of the collaboration.


Click to set custom HTML
Book of BartRs( first 50 pages)