Marianne Neill has a background in Architecture, Philosophy, Visual Art Studio, and Education, and has served on Faculty in Visual Art Studio at York University, University of Saskatchewan, and Western University. Degrees include a Master of Fine Arts (Visual Arts Studio; York University), Bachelor of Arts (hons. Philosophy; University of Toronto), Bachelor of Education (Western University). Some awards include the Samuel Sarick Purchase Award (York University), Carl H. Dair Memorial Scholarship (York University), Dorothy Emery Memorial Award (University of Western Ontario), Student Council Teaching Award (Western University). She presented ‘The Essential Angel Lexicon and The Orphan’s Lexicon’ as a poster at the Science of Consciousness Conference in Tucson, Arizona in 2024, and ‘The Record: Replicating That One Night in August’, as a paper at SoCC in Switzerland in 2019. In 2021, she self published the cross-disciplinary (art, science, philosophy) book, ‘The Record: Mind, Matter, and What Happened in 1987’

She has published articles in Art and Academe and the Journal of the Ontario Society for Education Through Art. Besides presenting at art conferences in New York and British Columbia, she has been a guest speaker and presenter in art and social justice contexts. All conference presentations are aspects of her art practice, which also included production of performance art and sculpture.  In particular, the performance ‘Gabrielle – Structure for Launching an Opening’ in Caledon, Ontario, sponsored by Artculture Resource Centre / CKLN Toronto, in 1987 became the basis for all subsequent work.

 The Record—Mind, Matter, and What Happened in 1987 is a compendium of a decades-long process of art-making and multi-disciplinary thinking.

Originally from Ontario, Marianne has spent the last twenty-five years in Vancouver on the West Coast of Canada.

“Where the array of ideas in Lorrain becomes a representational image by combining with the concept of subject/object dualism, the array in The Essential Angel Lexicon became a fragment of a meaning environment as a way fo fulfill my need to communicate an experience of subject/object continuity.” (The Record, p. 453).