Aspen Panel, Stain, Epoxy. 18×24″ 2014.
Prior to the exhibition ComicRelief at WassermanProjects, I spent a lot of time considering methods to extend graphic language into three dimensional objects. I think my work compositionally, has been marked by a simple binary. One portion of my work has relied on an almost baroque compositional sensibility, while the other has been simple. This is a very long way of saying that I wanted to build on the direct and simple.
Here Are A Few Historical Examples:
Screen-print on wood panel
48″x 48″ x .5″
1997.
(Crappy iPhone Photo)
Other Recent Relevant work
The Drawing Center, Attitudes Toward Critique & Isolations | Episode 7 of Studio Practice
Episode 7 of “Studio Practice.” In this episode Elliott Earls offers suggestions on how to learn from the critique process, shows an example of integrating family into a studio practice, discusses the benefits of failure. This episode features break dancing (isolations) and Elliott’s talk at The Drawing Center in New York. Episode Notes: David Bohm […]
Elliott Earls interviewed in Art 21 Blog
The Blog Art 21, has an interesting article posted today entitled The Anchor Art Museums in and of Detroit. In the Article Colin Darke interviews me about the importance of the museum, and he profiles my new work Elegy for the Collapse of the Empire. Interpretive skills are a critical part of a Museum’s mission. Elliott […]
Machining a Limited Edition Sculpture, Theory & Practice | Episode 13
A close look at the machining of one of Elliott Earls’ limited edition objects provides the background for a discussion of how critical theory relates to practice. In this episode Elliott provides a suggestion for helping you move your studio practice to a more contemporary space. This episode also features Joshua Ray Stephens as the Unholy […]