Born in Buffalo, New York and trained in sculpture and ceramics at Tyler School of Art, Julia Policastro has developed a practice that lives between object and image, structure and softness. Early work experiences at the Fabric Workshop and Museum and alongside artist Karen Kilimnik shaped her approach to material, surface, and storytelling, prompting an evolution from sculpture to painting — and eventually, a merging of the two.

Today, Policastro layers plaster and oil in works that echo textile design, tapestries, historical painting, and interior spaces, creating pieces that feel both built and imagined. Her work blurs the traditional separation between craft and fine art, not to diminish either, but to expand their shared possibilities — opening a space where texture becomes language, and where composition unfolds more like memory than convention. Exhibited in Philadelphia, New York, and North Carolina, her work invites viewers to linger, look closely, and reconsider what painting can hold.

We asked Julia about her practice and everyday life!

What’s one of your favorite things about having a studio practice?

Always having something to do- keeps me out of trouble!

What’s your studio like?

I just moved to a temporary studio – It’s a large shared space with lots of natural light. I’ve had many different studios in Philly and I’ve come to the realization that natural light is the most important amenity. I hope to have a home studio in the future.

Do you feel like you more so fell into making art or was it a well-defined vision and path you intentionally pursued?

My Mom is an artist who loves collecting books and art supplies, so naturally I spent my childhood looking at art books and making things with an endless supply of materials. Interning at The Fabric Workshop and Museum encouraged me to focus my efforts on making art. Id rather be good at math and be a prosperous banker, but unfortunately I’m terrible at math and only have interest in making art!

I know you recently did a residency in upstate NY at Waissac Project – why did you seek out an artist residency and what kind of impact did it have on you?

Communicating with other artists is essential to progression. Getting different perspectives and absorbing other’s knowledge of materials helped me come to new realization. Making art can be such a solitary act – engrossing yourself with others is invigorating. Also helps you feel less crazy for dedicating your life to something that looses you so much money, because you have the comfort of knowing other people are making nonsensical choices too!

Personal Stash: Where is your favorite place to acquire materials?

My parent’s house- the materials available to me from their house helps to innovate my practice. Sometimes when you have to work with limited supplies you figure out unexpected usages. My Mom has an eclectic mix of art books spanning from Giotto to a book about how to make ashtrays from sea shells- the variety of reference material has influenced my endeavor to create work that harmoniously incorporates both craft and fine art.

What fell into your lap recently?

Thanks to my friend Jeanne, a show opening at the Ray Building in Studio 105. Jeanne and I will show new work opening on November 21!

Your crush of the week (non-human)

Mouth Tape – it will make you sleep so deeply!

A current list

I like to make a list before bed that includes reminders and recurring thoughts from the day. The couple of minutes after I shut my eyes and before I fall asleep are my most creative- it’s the only time I come up with good ideas. This is the last list I made: Clip toe nails, make baked ziti with no red sauce, how to encrypt an email, get gas, why are my dreams exclusively stress dreams?, buy acetone.

A fantasy you have that’s closing in on reality (or closer to reality than previously thought.

I’ve been wanting an air fryer, but my boyfriend is against it. He recently went out of town, so I bought an air fryer 🙂