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Work Samples

Madame Cholet and Alderney (2021) installation view, 'The Shed Space'

'Re:paired with the colors all around'. Solo IRL exhibition installation at 'The Shed Space' Baltimore (2021). Studio works are re-assembled and re-made with color, highlighting an adaptability to changing environments that is in our nature(s). The exhibition Included a ‘free pile of healing Aloe Vera plants and ‘Brood X’, a natural cicada soundtrack. image show 'Madame Cholet and Alderney' (2021) two paper pulp cones with insulation wool, mason twine and lamp diffuser on paper edged wood-block flooring, installation view 'The Shed Space'

'the baby and the bathwater' installation view

'the baby and the bathwater' IRL exhibition installation, 'Shelter in Place Gallery', Boston, Mass. Making reference to climate change as well as psychological processes of individual growth, “the baby and the bathwater” is an assemblage of household reconstructions in which a delicate balance is achieved by preserving what is useful and recycling rather than discarding those things that no longer serve us well

Domestic Structures: Repartea (2021)

Numerous additions were made to the Domestic Structures series during 2021 resulting in an exhibition-ready collection. ‘Repartea’ is a dinner-party installation opening on 16 January 2022 in Baltimore drawing its inspiration from previous ‘banquet’ events at Project 1628, a refined non-commercial setting in Baltimore’s historic Bolton Hill neighbourhood.

'Spirit Lake/Kirk Wall' (2018) installation view 'Exchange Berlin' Germany

Spirit Lake/Kirk Wall (2018) two 46 second video loops (one with audio) with synchronised movement of falling leaf and crow in flight (aspect ratio 1280 x 720 each) shown on two monitors with ladder, headphones and shadow Installation view SLUICE: EXCHANGE BERLIN (part of the British Councils UK/DE 2018 season) "…The atmosphere of the sinister ice lake is impressively evoked by the artist’s reduced, dominating white……a deliberately disturbing sound installation in which you can hear the sound of a crow in slow motion…….the two works are mutually dependent……The installation calms and t

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About Elaine

Baltimore City

Elaine Fisher's picture
 I find and collect objects, images and words from my immediate environment and make poetic relationships between them.  Through sculptural, collage and woven assemblages I come to understand the ways in which the world is physically and perceptively constructed and how its various parts collaborate together.  The monumentality of my improvised structures and their photographic portraits refer to a background in archeology and museology and an intent to restore feminine mythologies, in... more

Domestic Structures: Repartea (***new for 2021)

‘Repartea’ is a dinner-party installation (opening 16 January 2022) drawing its inspiration from previous ‘banquet’ events at Project 1628, a refined non-commercial setting in Baltimore’s historic Bolton Hill neighbourhood.  The words ‘Repartee’ (conversation or speech characterized by quick, witty comments or replies) and ‘tea’ (a term used to denote ‘dinner’ or an evening meal in England as well as the Colonial ‘brew’ itself) combine to invite an imaginative viewing of the Domestic Structures sculpture series.  As place-settings for a sumptuous feast, and through the shifting and layered dialogues that emerge from their trashy parts, each sculpture is gradually revealed as both consumer and consumed  - we are what we eat!

The 'Repartea' installation will include work from the complete Domestic Structures series (see also 'Domestic Structures'). The work samples included here were made during 2021

  • Distressed Jean (2021)

    Distressed Jean (2021) paper pulp: yellow pages, flour, salt, white glue and pop-corn, with denim threads, mason twine and watercolor
  • Dream Machine (2021)

    Dream Machine (2021) recycled plastic air pocket, egg carton, foam discs, plastic caps, electrical cable and mason twine
  • This ones got legs (2021)

    This ones got legs (2021) paper pulp formed in the hand around plastic caps, with added pencil-head erasers found to fit perfectly in the cap holes
  • Domestic Structures: Repartea (2021)

    Numerous additions were made to the Domestic Structures series during 2021 resulting in an exhibition-ready collection. ‘Repartea’ is a dinner-party installation opening on 16 January 2022 in Baltimore drawing its inspiration from previous ‘banquet’ events at Project 1628, a refined non-commercial setting in Baltimore’s historic Bolton Hill neighbourhood.
  • Diving Belle (2021) featuring ocean life (jacket)s (2021)

    Diving Belle (2021) featuring ocean life (jacket)s (2021) mackerel tin lies, mason twine and bread bag enclosures with found metal funnel, peg board hooks and plastic take-out food container
  • incubation (2021)

    incubation (2021) mackerel tin, insulation wool and packaging foam with under-water sucker, joined and wrapped in faded pink mason twine. Exhibited with Latela Curatorial and on Artsy.net as part of their online 'Garden Party' Exhibition
  • Muriel Aerial (2021)

    Muriel Aerial (2021) remodelled paper-pulp carton and cardboard tube wrapped, stuffed and coated with cotton, mason twine, foam, synthetic yarn and acrylic
  • Coast2Coasters (2021)

    Coast2Coasters (2021) set of 4 paper coasters printed with California beach day photographs, hand-finished with flocking and a water-resistant coat (edition of 25) made to accompany 'East Coasters' (2021) a set of coasters printed with Cape Cod beach day photographs
  • Elgin Marvel (2021) sculpture and Fine Art Print edition

    Elgin Marvel (2021) sculpture and Fine Art Print edition, plaster cast of super heroine boots photographed on the studio floor where it was made and later removed
  • home to roost (2021) Sculpture and Fine Art Print edition

    home to roost (2021) Sculpture and Fine Art Print edition: egg cartons with insulation wool, plastic acrylic and bronzer

the baby and the bathwater

IRL solo exhibition at 'Shelter in Place Gallery' (Boston, Mass)
Making reference to climate change as well as psychological processes of individual growth, 'the baby and the bathwater' is an assemblage of household reconstructions in which a delicate balance is achieved by preserving what is useful and recycling rather than discarding those things that no longer serve us well.

re:paired with the colors all around

IRL solo exhibition installation at 'The Shed Space' Baltimore (2021).  Studio works are re-assembled and re-made with color, highlighting an adaptability to changing environments that is in our nature(s).  The exhibition included a ‘free pile of healing Aloe Vera plants and ‘Brood X’, a natural cicada soundtrack. 

  • Madame Cholet and Alderney (2021) installation view, 'The Shed Space'

    'Re:paired with the colors all around'. Solo IRL exhibition installation at 'The Shed Space' Baltimore (2021). Studio works are re-assembled and re-made with color, highlighting an adaptability to changing environments that is in our nature(s). The exhibition Included a ‘free pile of healing Aloe Vera plants and ‘Brood X’, a natural cicada soundtrack. image show 'Madame Cholet and Alderney' (2021) two paper pulp cones with insulation wool, mason twine and lamp diffuser on paper edged wood-block flooring, installation view 'The Shed Space'
  • honeycomb kore (2021) installation view 'The Shed Space'

    plastic bobbin, mason twine, egg carton, paper, clockwork mechanism
  • a veil (avail) (2020) installation view 'The Shed Space'

    overpainted silk screen print (acrylic on gesso-coated calico) with silk curtain, duck tape and shed wall
  • plant care instructions (2021) installation view 'The Shed Space'

    Plant Care instructions pages from ‘home appliance testing’ overprinted with photographs of Aloe Vera plant, re-bound with mason twine on sections of wooden window blinds
  • unfinished work (2019-2021) installation view 'The Shed Space'

    Unfinished work (2019-2021) collaged silk screen print of photograph through length of French knitting (acrylic on gesso-coated calico) installed with mason twine
  • girl doll (girdle) (2021) installation view 'The Shed Space' incorporating video work 'working rhythms'

    Girl Doll (girdle) (2021) uprooted tree, childhood French Knitting doll, mason twine, metal sieve, clear view TV, media player, video ‘working rhythms’ (74 seconds looped) The ‘French knitting’ doll that appears in Girl Doll (girdle) was a gift from my maternal grandmother . Spool knitting, corking, French knitting or tomboy knitting is a form of knitting that uses a spool with a number of nails around the rim to produce a narrow tube of fabric. The spool knitting devices are called knitting spools, Knitting Nancys, or French knitters.
  • all armed and grown up (2019-2021) installation view 'The Shed Space'

    All armed and grown up (2019-2021) composite wood panels, cast concrete cones, plastic rod, mason twine and acrylic, installed with light bulb, insulation wool, Aloe Vera plant and silk screen transparencies Athena is the goddess associated with technical and strategic skill, warfare, weaving, and other kinds of expertise. In Roman Mythology she is Minerva, who came ‘all armed and grown up’ from her father’s brain, appearing with a countenance full more of masculine firmness and composure than of softness and grace. In one hand she held a spear and in the other a shield.

domestic structures (2020-2022)

'Domestic Structures' is a sereis of small works - assemblages of domestic, recycled materials - reformed into independent, self-reliant sculptures that (whilst often complex in themselves) are also entangled in relationships with 'others'.  The works embody ideas of (re)making and (re)balancing complex personal and interpersonal structures (psychological self-care systems and practical arrangements for home-work life) for our new domestic and digital realities in the time of COVID.  

The 'ovo' series takes its form from the paper-pulp egg-carton and many of its references from Greek Mythology.  Selected objects from both the 'ovo' and 'delicate balance' series were photographed by the ICA as part of their BADAS documentation project in 2020 and shown online in March 2021 in a solo installation at 'Shelter in Place Gallery', Boston, Mass.  The complete collection will be on view from January 16 2022 at Project 1628 in Baltimore in the IRL exhibition installation 'Repartea'.  

‘Repartea’ is a dinner-party installation drawing its inspiration from previous ‘banquet’ events at Project 1628, a refined non-commercial setting in Baltimore’s historic Bolton Hill neighbourhood.  The words ‘Repartee’ (conversation or speech characterized by quick, witty comments or replies) and ‘tea’ (a term used to denote ‘dinner’ or an evening meal in England as well as the Colonial ‘brew’ itself) combine to invite an imaginative viewing of this work.  As place-settings for a sumptuous feast, and through the shifting and layered dialogues that emerge from their trashy parts, each sculpture is gradually revealed as both consumer and consumed  - we are what we eat!

  • 'fountain of Artemis at Ephesus' photographic object portrait

    'Domestic Structures' is a sereis of small works - assemblages of domestic, recycled materials - reformed into independent, self-reliant sculptures that (whilst often complex in themselves) are also entangled in relationships with 'others'. The works embody ideas of (re)making and (re)balancing complex personal and interpersonal structures (psychological self-care systems and practical arrangements for home-work life) for our new domestic and digital realities in the time of COVID.
  • growing frame

    wooden weaving frame with cotton warp, wool, wooden pegs, egg-carton and construction string (w30 x h31 x d12 inches) As a provisional egg-carton sculpture moves into woven form it develops legs. Not yet fit for purpose the legs are more like tentacles exploring their new environment.
  • Visionary (Athene noctua)

    floated print (printed area h14 x w 14") on h20 x w16" Museo Portfolio Rag (300gsm) in custom, handcrafted, wood frame by New Standard Frames (Baltimore). Image depicts a crab mallet and egg carton sculpture with spectacles and shadow, thought to resemble an owl, one of the symbols of Athena. The original sculpture is included in my solo exhibition installation at 'Shelter in Place Gallery' March 2021, 'the baby and the bathwater'
  • Pants!

    Full bleed print on h20 x w 16” Museo portfolio rag (300gsm) in custom, handcrafted wood frame by New Standard Frames, Baltimore. Pants: an undergarment that covers the genitals and often the buttocks and the neighbouring parts of the body (underpants), used in slang to describe something worthless or as an expression of something going awry
  • cellular (*NEW 2020)

    cellular (*NEW 2020) egg carton, plastic and acrylic sculpture (l 4.25 x w 3.25 x h 1 inches), also produced as a silk screen print (acrylic on craft card 8.5 x 11.5 inches)
  • 'rise' (*NEW 2020)

    'rise' (*NEW 2020) egg carton and acrylic (h 4 x w 4 x d 4 inches)
  • 'look me in the eye and tell me that' (*NEW 2020)

    'look me in the eye and tell me that' (*NEW 2020) found fibre-wrapped copper cable with holiday decorations and acrylic (dimensions: h8 x w10 x d6 inches)
  • 'a delicate balance' (*NEW 2020)

    'a delicate balance' (*NEW 2020) single table leg with wheeled foot and upper horizontal support held upright by two sets of parallel pink strings which in turn provide support for a complimentary colored assemblage (found plastic fruit and veg packaging connect to each other through slits in an acrylic painted bubble-envelope-label support). Dimensions: h variable w 33 d4 inches. Image shows close up of installation. Colours are found reversed on the 'other' side of the assemblage.
  • 'dark circles' (*NEW 2020)

    'dark circles' (*NEW 2020) found foam shapes with underwater weights. Dimensions (left) h 2.5" x w 5" x d 3.5" (right) h 2" x w 5" x d 5"
  • 'Sloppy Jo' (*NEW 2020)

    'Sloppy Jo' (*NEW 2020) photographed as part of the ICA BADAS project

@ekplisso (*NEW 2020)

 @ekplisso (εκπλήσσω (ekplisso) : to amaze, dumbfound)  is an online collaboration between artists Elaine Fisher and Lucy Gresley, launched in June 2020 in response to the COVID 'lockdown', that utilises instagram as a means of publishing conversational artworks in real time.  Primarily based around the instagram ‘post’ each artist submits in turn a two dimensional version of work that has been made as a direct result of an ongoing conversation.  Work to date has focussed on an expanded idea of collage which includes two and three dimensional works that converge with the artists main practices.  Conversations begin privately on zoom and are developed online as works are made and juxtaposed, relating to each other visually, and conceptually through titles and stories that are shared in the post’s comments.  

Originating in an increase in email and Whats App messages when Elaine moved to the USA in February 2018, Ekplisso grew out of the necessity to continue sharing ideas and a desire to undertake collaborative ventures despite geographical limitations.  In the strange new world of COVID Ekplisso took on increased significance as a place, a virtual studio (visit) in which we could meet and share work.  At a time when Instagram has became a safe, socially distanced, proxy for the physical exhibit, Ekplisso has tested its limitations but also uncovered new possibilities for the exhibition of art; creating a situation in which collaborative work maintains its real-time, conversational relationships, showing work at the time of its making, as the exhibition is being built.

In Greek mythology, the Labyrinth (Greek: Λαβύρινθος, labýrinthos) was an elaborate, confusing structure built by Daedalus for King Minos to hold the Minotaur. From as early as 430 BC the Labyrinth was re-imagined as a Classical ideal, a single-path of seven-courses (without branches or dead ends) that spirals towards the centre. It was not until the Renaissance that the confusing concept of the Labyrinth was re-born as the popular hedge-maze. Labyrinth and maze have become synonymous, yet scholars call for the distinction to be upheld. For clarity, and to honour the Greek origins of the complex labyrinth, we have chosen to utilise the greek verb, εκπλήσσω (ekplisso, to amaze or dumbfound) to describe the various pathways that intersect, diverge and end as we make work in conversation.

  • sssshhhh (*NEW 2020)

    photograph of paper collage on found book page shared on @ekplisso instagram November 20, 2020, in response to @Lucygresley's paper collage titled, 'Ready to Hide.
  • 'full bloom (getting to the Medusa stage)' (*NEW 2020)

    'full bloom (getting to the Medusa stage)' (*NEW 2020) doubled sided paper collage: watercolour and pencil on found booklet pages, folded. Image shows reverse view. Posted on instagram with associated text describing the never-ending cycle of the jellyfish
  • is Octo(ber) man Nuclear man's shadow? (*NEW 2020)

    'is Octo(ber) man Nuclear man's shadow?' (*NEW 2020) paper puppet with popsicle stick and waxed paper skirt photographed with shadow and posted with insert photograph of 'Nuclear Man' previously posted by Lucy Gresley
  • '(enemy) of the pipework' (*NEW 2020)

    '(enemy) of the pipework' (*NEW 2020) paper collage with cardboard tube support photographed duplicated and re-assembled for two-dimensional viewing
  • nostalgia / filling gaps and picking holes

    'nostalgia / filling gaps and picking holes' (*NEW 2020) free-standing paper collage with watercolour, split rock, sea shell and jug (reverse view) photographs posted on @ekplisso September 19 2020 and published in Nefarious Contemporary's 'Memory' Zine December 2020
  • 'Black Swan Excavator' (*NEW 2020)

    'Black Swan Excavator' (*NEW 2020) photograph of found object assemblage with collage attachments posted on instagram September 2 2020 with associated photographic memories of a research trip to Orkney 2017 with artist-collaborator, Lucy Gresley
  • 'recovering Venus' (*NEW 2020)

    'recovering Venus' (*NEW 2020) paper collage with watercolour featuring the Capitoline Venus posted on instagram August 21 2020 in response to Lucy Gresley's collage, 'structures may be unexpectedly uncovered', with related text
  • 'never ending story' (*NEW 2020)

    'never ending story' (*NEW 2020) mixed media collage on folded paper previously posted on instagram as a series of photographs of the work un-folding, made in response to Lucy Gresley's 3d paper box collage 'Trilogy'
  • 'out of the mountain' (*NEW 2020)

    'out of the mountain' (*NEW 2020) mixed media collage on paper posted on instagram in response to Lucy Gresley's 'Was this Ephialtes?' following a conversation about giants in Greek mythology and in Orkney
  • 'the urge to defenestrate / just jump already!' (*NEW 2020)

    'the urge to defenestrate / just jump already!' (*NEW 2020) paper collage on printed photographic cut-out featuring 'Aprodite's arm holding Eros' from the Walters Art Museum (under Creative Commons licence)

Video shorts

I make short video and animation projection pieces from footage and photographs I collect on impulse as I might collect an object.  These works are related to specific projects, becoming integral parts of exhibition installations but they also often sit slightly outside of known space, perhaps taking the work in a different direction or pointing towards work that is yet to come.  Together they find their own project(ion) in relation, within and between works.  

  • 'animation nation' (*NEW 2020)

    'animation nation' (2020) opening credits for an imagined film in which anima take over an abandoned zoo (aspect ratio 1920 x 1080)
  • 'hanging around' (*NEW 2020)

    'hanging around' (*NEW 2020) 1 second looped stop-motion video (aspect ratio 1080 x 1080) from the 'ten minute sculpture / anime' instagram series (found wood, plastic and cable tie with stop motion photography and vintage comic filter)
  • 'the lives of a cell' (*new 2020)

    'the lives of a cell' (*new 2020) 42 second looped video negative (aspect ratio 1080 x 1080) (sunlight and concrete) “We live in a dancing matrix of viruses; they dart, rather like bees, from organism to organism, from plant to insect to mammal to me and back again, and into the sea, tugging along pieces of this genome, strings of genes from that, transplanting grafts of DNA, passing around heredity as though at a great party” Lewis Thomas ‘the lives of a cell’ (May 1974)
  • 'not going anywhere' (*NEW 2020)

    'not going anywhere' (*NEW 2020) 9 second looped video (aspect ratio 1080 x 1080) collage fragment holds fast in studio fan
  • 'freckle' (*NEW 2020)

    'freckle' (*NEW 2020) 6 second looped stop motion video (aspect ratio 1080 x 1080) a series of digital negatives, photographs tracking the sun through the trees, juxtaposed with an ultrasound of my left eye
  • 'snow day' (*NEW 2020)

    'snow day' (*NEW 2020) 11 second looped video (aspect ratio 1080 x 1080) egg-carton fountain of Artemis at Ephesus with video of snow falling outside apartment window during the holidays
  • working rhythms (*NEW 2020)

    74 second video (aspect ratio 1280 x 720) recording of bungee chords used for window cleaning of apartment block recorded from the inside the building looking out
  • 'Spirit Lake/Kirk Wall' (2018) installation view 'Exchange Berlin' Germany

    Spirit Lake/Kirk Wall (2018) two 46 second video loops (one with audio) with synchronised movement of falling leaf and crow in flight (aspect ratio 1280 x 720 each) shown on two monitors with ladder, headphones and shadow Installation view SLUICE: EXCHANGE BERLIN (part of the British Councils UK/DE 2018 season) "…The atmosphere of the sinister ice lake is impressively evoked by the artist’s reduced, dominating white……a deliberately disturbing sound installation in which you can hear the sound of a crow in slow motion…….the two works are mutually dependent……The installation calms and t
  • 'Crossing the Chesapeake (Pamlico Sound)' (2019)

    'Crossing the Chesapeake (Pamlico Sound)' (2019) 73 second looped video (aspect ratio 1080 x 1080) two videos of journeys across the Chesapeake are juxtaposed
  • 'Parameter Transcript' (2018)

    'Parameter Transcript' (2018) 100 second video loop (aspect ratio 1920 x 568) original footage from sound commission for B-side Festival and OSR Projects (2016)

Creation Myths

body of work in which paintings and the painting process are seen as αρχέ(τυπα), archetypal symbols for the emergence of consciousness.  Emerging self-world landscapes are presented as portraits, archetypal symbols of the relationship between our constantly changing inner and outer worlds

Assembly painting series:  Through processes of washing away, sanding back and overpainting, conscious and unconscious forces engage in doing and undoing – mythology tells us destruction is also a creative act. The stretched skin is fragile (calico and muslin laid bare with clear gesso) and requires a support solid enough to withstand the storm.  Acrylic is the medium of choice because its fast-drying nature demands drastic, sometimes brutal, responses which help to keep the exchange active.  Each painting is seen as a self-portrait, the portrait of an inner landscape under a constant process of renewal.

Threshold series: In a damaged painting, cut out shapes, with seemingly endless possibilities, are found unable to change beyond their severed forms.  Through acts of folding, tracing, placing and consolidation the form is exhausted, finally found resting on its fragile support. There is nothing to be done other than to start again.

  • 'Robins Egg' (2018)

    abstract painting (acrylic and gesso on muslin covered board) with dominant colours in brown, red and 'robin's egg' blue
    'Robin's Egg' (from 'Assembly' painting series) acrylic and gesso on calico covered board (w12 x h9 inches)
  • 'Aphrodite's Mirror' (2018)

    abstract painting (acrylic and gesso on muslin covered board) with dominant colours in brown, blue and yellow
    Aphrodite's Mirror (from 'Assembly' painting series) acrylic and gesso on calico covered board (w12 x h9 inches)
  • 'δε πτερόν (two wings)' (2018)

    abstract painting (acrylic and gesso on muslin covered board) with dominant colours in blue and red
    'δε πτερόν (two wings)' (2018) (from 'Assembly' painting series) acrylic and gesso on calico covered board (w12 x h9 inches)
  • ἕρπω (I crawl)' (2018)

    abstract painting (acrylic and gesso on muslin covered board) with dominant washed out colours in blue and red
    ἕρπω (I crawl)' (2018)(from 'Assembly' painting series) acrylic and gesso on calico covered board (w12 x h9 inches)
  • 'Head_Land' (2018)

    abstract painting (acrylic and gesso on muslin covered board) with dominant colours in blue and yellow
    'Head_Land' (2018) (from 'Assembly' painting series) acrylic, copper finishing wax and gesso on muslin covered board (w20 x h24 inches)
  • 'Threshold (folded form)' (2018)

    forms cut from an abandoned painting lay over its now empty stretcher
    'Threshold (folded form)' (2018) installation view showing cut-out canvas form folded and resting on its former stretcher support (frame support w40 x h34 x d21 inches)
  • 'Threshold (drawings)' (2018)

    six 10x8" drawings in graphite on muslin covered board traced from a form cut from an abandoned painting
    'Threshold (drawings)' (2018) graphite and gesso on muslin covered board (w 8 x h 10 inches each)
  • 'Consol(id)ation' (2018)

    'Consol(id)ation' (2018) w16 x h20 inches full bleed fine art print on Museo portfolio rag 300gsm. A form cut from an abandoned painting is folded, its new shape duplicated from canvas remains before the two forms are consolidated, scanned, collaged and printed

did you meet her (d'm't-er)?

'Did you meet her? (D’m’t-er?)' is a series of works that trace the artists’ pilgrimage around Valletta (Malta) in search of the Mother Goddess. (Not) finding Her (in His tomb but) in the architectural elements of a crumbling city, the works explore the projection of unconscious contents onto the material world and consider ways we might uncover the suppressed feminine, by ‘cutting out’ the established patriarchal contexts that surround the things She is drawn to.

  • 'D’m’t-er? city poster I' (2018)

    'D’m’t-er? city poster I' (2018) photographic cut out printed on poster paper (w18 x h24 inches) best in show award 'Studies and Source: inspiration' Specto Arts (August 2019)
  • 'D’m’t-er? city poster II' (2018)

    'D’m’t-er? city poster II' (2018) photographic cut out printed on poster paper (w18 x h24 inches) best in show award 'Studies and Source: inspiration' Specto Arts (August 2019)
  • 'D’m’t-er? city poster III' (2018)

    'D’m’t-er? city poster III' (2018) photographic cut out printed on poster paper (w18 x h24 inches)
  • 'D’m’t-er? city poster IV' (2018)

    'D’m’t-er? city poster IV' (2018) photographic cut out printed on poster paper (w18 x h24 inches)
  • 'D’m’t-er? triptych' (2018)

    'D’m’t-er? triptych' (2018) photographic cut out fine art print (h20 x w76 inches)
  • 'D’m’t-er? souvenir' (2018)

    'D’m’t-er? souvenir' (2018) wood, acrylic and metal (dimensions variable: support h12 x w12 d 0.5 inches). Cut and painted wood forms reminiscent of headless mother goddess souvenirs from the Archaeological Museum in Valetta (Malta) escape from their former support
  • 'D'm't-er bound' (2018)

    'D'm't-er bound' (2018) acrylic painted wood figurine with metal bolts (w5.5 x h4 x d3/4 inches). Originally created as a bespoke tripod plate for a video projector, the form becomes a figure whose limbs are bound by the bolts that would have attached to the tripod legs. Rendered immobile the form is released in the related work 'souvenir'
  • 'Finding Core' (2018)

    'Finding Core' (2018) fine art photographic transfer print on cotton rag in 'cut-off' three sided frame

Beneath

Collaboration with Lucy Gresley (2017) exploring the subjective plurality of artistic collaboration as an alternative lens through which to view the entanglements of things and our perceptions of them.

Framed by the study of Art and Archaeology at the University of the Highlands and Islands, Orkney (and incorporating a shared interest in Psychology) we recorded intuitive responses to encounters with what remains, exploring the potential of the right hemisphere (our primitive myth-making subconscious) to reach a deeper understanding of the past.  

  • 'shadow at work (water basket)' (2017)

    'shadow at work (water basket)' (2017) A3 photographic light box (wood, acrylic, LEDs, digital pigment print). Photographs taken in the process of making a basket from found material on the riverbank. When completed the basket was lined with mud and other photographic works were made from the process.
  • '(un)finished work' (2017)

    '(un)finished work' (2017) fine art print: photograph taken in the process of making a basket at a workshop run by local basket artist and Gloucestershire Guild of Craftsmen member Susan Early
  • 'Brodgar mobius strip' (2017)

    'Brodgar mobius strip' (2017) prototype mobius strip made from length of printed paper; images photographed at Brodgar Stone Circle, Orkney
  • 'survey book' (2017)

    'survey book' (2017) drawings of mud shards retrieved from dried and cracked mud-lined basket made on survey paper
  • 'survey book' (2017)

    'survey book' (2017) drawings of mud shards retrieved from dried and cracked mud-lined basket made on survey paper
  • 'Knotgrove Kneeler?' (2017)

    'Knotgrove Kneeler?' (2017) fine art print: photograph taken during research visit to Cheltenham Art Gallery and Museum to study the archaeological archive of local female archeologists and investigate the re-writing of their findings which later reduced the Knotgrove Kneeler idol to 'just a lump of old rock'
  • 'Neolithic Time' (2017)

    'Neolithic Time' (2017) fine art print: digitally collaged photographs from covered excavations at the Ness of Brodgar (Orkney) and a walk in the woods (Gloucestershire)
  • 'End of Season' (2017)

    'End of Season' (2017) fine art print: photograph from covered excavations at the Ness of Brodgar (Orkney)
  • 'standingstones' (2017)

    'Standing Stones' (2017) sketch book drawings for wall installation: ink on paper

sites of (ex)change

Part of a series of residencies on the Jurassic Coast between Portland and Eype (Dorset, UK) exploring sites of (ex)change – where land and water meet – considering the frameworks within which meaning is made and knowledge formed of a constantly changing world and establishing my artistic practice in the triangulation between site (the territory of investigation), studio (the research discipline of working- through) and gallery (re- assembling artefacts for public scrutiny). As in academic research (and as metaphor for the uncertainty of borders) the ‘work’ is considered as existing both in and between the points of the triangle (a constantly repeating loop) despite only being ‘known’ through its publication at exhibition.

A walk along Chesil beach is repeatedly explored through boundaries and their transgression.  Pebbles are not permitted to be taken along this protected coastline but what constitutes a pebble?  Photographs are taken at regular intervals to measure the phenomenon of pebble sorting - the pebbles get gradually bigger - as you head from east to west along the 18 miles of pebbles beach from the almost-island which becomes gradually mainland potected by a line of WWII pill boxes.  Piddock fossils are examined for the same phenomena but refuse absolute categorisation.  Weather Station - a giant inflatable ball - is co-opted as part of a commission for B-side festival to audio record constant change on this coastline.  Will the protective bubble completely deny what lies outside?  

  • 'Para(meter)' (2016)

    Para(meter) (2016) installation view B-side Festival, Portland: six lathe cut 12” transparent vinyl records (soundtracks of walking on pebbles recorded from inside ‘Weather Station’) with cyanotype printed covers on a turntable of European sea crates As research project Para(meter) aimed to consider how our human impulse – to separate and measure a constantly changing world – impacts on our understanding of and reaction to climate change.
  • 'Parameter Transcript' (2018)

    'Parameter Transcript' (2018) 100 second video loop (aspect ratio 1920 x 568) original footage from sound commission for B-side Festival and OSR Projects (2016)
  • 'ness -ness nest nestle net (table)' (2015)

    'ness -ness nest nestle net (table)' (2015) installation view close up, Hardwick Gallery, Cheltenham: dictionary, mortar and pestle, found pebbles on table with cast concrete and scaffold base plate supports (w:112 x d:90 x h:107.5 cm)
  • 'ness - ness nest nestle net (table)' (2015)

    'ness - ness nest nestle net (table)' (2015) installation view, Hardwick Gallery, Cheltenham: wooden table with cast concrete and scaffold base plate supports, dictionary, mortar and pestle, found pebbles (w:112 x d:90 x h:107.5 cm)
  • 'ness -ness nest nestle net (net weight)' (2015)

    'ness -ness nest nestle net (net weight)' (2015) installation view Hardwick Gallery, Cheltenham: 42” Landing net with 1 oz brass weight (dimensions variable)
  • 'Tidetable (Cheltenham)' (2015)

    'Tidetable (Cheltenham)' (2015) installation view Hardwick Gallery, Cheltenham: digital pigment print and found objects on studio table with recreated residency image in 3d on floor of gallery
  • 'PiddockRange' (2015)

    'PiddockRange' (2015) installation view Hardwick Gallery, Cheltenham: 'piddock' peat fossils collected on Chesil beach are reassembled on gallery window sill with target practice paper through which light passes
  • 'Loophole (Chapel Loop)' (*2014)

    'Loophole (Chapel Loop)' (2014) installation view The Chapel, Francis Close Hall, University of Gloucestershire: photocopied and collaged contact photograms are re-created on boards that match the brickwork of a curved wall to the rear of the Chapel. Windows to the left and right light up the central light-filled aspect of the image whilst the windows above mirror the original pill box window from which the work is derived
  • 'Loophole (photograms)' (2014)

    'Loophole (photograms)' (2014) photocopied and collaged contact photograms on board (21cm x 63cm each). Darkroom photograms produced by projecting light through the window of a replica WWII concrete pillbox. The photograms are reminiscent of the view from the original pillbox on Chesil Beach.

Elaine's Curated Collection

This artist has not yet created a curated collection.