Angie Reed is perhaps best known as a pop performer. Whilst her quirky electropop songs are more than capable of holding their own as pop music, Reed's musical practice is inseparably connected with her work as a visual artist. She has not, for example, ever released an album that was not, in effect, a pop opera. Both albums to date are effectively the track lists for two hour-long staged performances, "The Barbara Brockhaus Show" and "XYZ Frequency".

In Angie Reed's practice, her song writing comes out of forming the content for a performed experience –whether in galleries or more theatrical settings- intrinsically linked to the worlds she creates through the use of text and drawing. In the more recent of her two hour-long works, the projections of sequential drawings have given way to animations.

Always involved in the music scene from adolescence – for example she managed to play bass for "Stereototal" whilst successfully completing her visual art studies in Berlin- Reed's practice has always involved drawing and an interest in animation, an influence of the American pop culture of her youth. During the period that she studied under Katharina Sieverding, she explored a broad range of permutations these various practices. One result was the performance-based works. The other main form was the use of her idiosyncratic drawings –or animations made from them- in making installations. In some cases these have involved turning specific rooms into a form of three-dimensional storyboard. In others, the work is more sculptural, drawing on Arte Povera ideas of using cheap, found materials to create almost a suggestion of a narrative into which she inserts her video works. Perhaps it is the development of these more sculptural sensibilities that have led to her most recent choices to make sculpture, sometimes shown in relation to small paintings.

Characters and invented personas play a vital role in her practice, often advancing a narrative through the means of a storytelling song or appearing in an adjunct animation. The strong narrative elements to Reed’s work –even when opaque or obtuse- underscore both her interest and skills in related art forms such as music and theatre. For example, in addition to an established career as a pop musician, she has appeared in a production of ‘Tosca’ at Berlin’s prestigious Volksbuhne. Reed is currently working on a number of substantial new art works using a not dissimilar production method. A work currently in production in the Azores will see her attempt a personal remake of Kenneth Anger’s ‘Scorpio Rising’. Another work is entitled “when the gods came down to the earth and i chose my place in the food chain”. In it, she will play all the narrative roles, male and female, acted out against blue-screen and edited together. Part of the research for this work – Reed’s interest in occult and mystical traditions such as branches of Gnosticism and Byzantine era cults that depicted Christ as highly androgynous or even a hermaphrodite- has spawned other works such as diptychs and triptychs of digital prints and assemblage installations. These works combine her art historical references with her equal interest in all things esoteric and mind-altering, such as the obvious Erich von Däniken connection. The visual presentation alludes as much to her lifelong attraction to kitschy subcultural aesthetics as the actual science at the heart of great mysteries of the universe.

Angie Reed has shown in a range of spaces including Kunst Werke (Berlin), KunstBank (Berlin) Wolfsburg Museum (Wolfsburg), MAMA/Boijman's (Rotterdam), Museum Villa Stuck (Munich) and Contemporary Art Center (Cincinnati).

Angie Reed has produced two albums on Chicks on Speed Records. In addition to her work as a performing musician, she has produced soundtracks for theatre and film and appeared as an actress in a number of German films and stage productions. She has also made animated pop videos for Mark Stewart, Crookers, Patric Catani and Peaches.