Lori Ellison

Untitled

2014

Signed and dated "1962" by the artist lower right. Mixed media on heavy paper. Done for a show to fund a trip to Italy.

I grew up in the United States and completed a BA in literature in Santa Barbara, CA, an MA in literature in Sydney, Australia, and a three-year printmaking diploma in London, where I currently live with my husband and two sons. I have also lived in Ecuador, where I taught modern literature and creative writing, and in France, where I contributed articles on art to Surface magazine. I am fascinated by the way patterns are repeated in both nature and urban landscapes and find inspiration in everything from maps, train tracks and aerial photographs to stones, moss, bark, lily pads and microscopic organisms. The time required to finish one of my monotypes varies, but often takes months. I usually start by rolling a color all over a smooth Plexiglas plate and then work reductively, creating the image by removing ink, sometimes by masking sections, but mainly with turpentine, using everything from spatulas, droppers and paintbrushes to muslin, tissue and cotton swabs. Now and then I take an additive approach and start on a clean plate or use a ghost image (a print made with the faint, left-over ink from a used...

I grew up in the United States and completed a BA in literature in Santa Barbara, CA, an MA in literature in Sydney, Australia, and a three-year printmaking diploma in London, where I currently live with my husband and two sons. I have also lived in Ecuador, where I taught modern literature and creative writing, and in France, where I contributed articles on art to Surface magazine. I am fascinated by the way patterns are repeated in both nature and urban landscapes and find inspiration in everything from maps, train tracks and aerial photographs to stones, moss, bark, lily pads and microscopic organisms. The time required to finish one of my monotypes varies, but often takes months. I usually start by rolling a color all over a smooth Plexiglas plate and then work reductively, creating the image by removing ink, sometimes by masking sections, but mainly with turpentine, using everything from spatulas, droppers and paintbrushes to muslin, tissue and cotton swabs...

Chinese still life in yellow, red, blue and black. The tradition of art is continuous: past creations are tradition for today, and today's creation will be future traditions. Trad...

Sara Eichner wants to create a space where point of view cannot be fixed. Optical games stand in for her struggle to comprehend the complexities of seeing. Using simple drawing tools...

Sara Eichner wants to create a space where point of view cannot be fixed. Optical games stand in for her struggle to comprehend the complexities of seeing. Using simple drawing tools...