Elizabeth Neel’s paintings and sculptures blur relationships between architecture and the body, memory and action. Drawn from specific, real world subject matter–from anonymous images sourced from the Internet to found objects–Neel’s ‘fictive situations’ trace excavations of life, along with its contamination through death and decay. While ostensibly abstract, Neel’s paintings have an uncanny insistence on the representational residue of mark making. Her smears and punctuations of tape hint towards the reconstructive narrative potential of abstraction. Her sculptural assemblages extend the sensibility of perspective and proximity between disparate gestures into three dimensions, using a diverse array of materials including clay, wood, wax, tape, inkjet prints and found objects. Through stimulating relationships between her paintings and sculptures Neel returns to architecture as a narrative tool for framing objects and images.Read More
Elizabeth Neel (b. 1975) currently lives and works in New York. She graduated from Columbia University with an MFA in 2007. Recent solo exhibitions include: Tangled on the Serpent Chair, Mary Boone Gallery (2018); Claw Hammer, Susanne Vielmetter, Los Angeles Projects (2017); Vulture and Chicks, Pilar Corrias Gallery, London (2016); Lobster with Shell Game, Susanne Vielmetter, Los Angeles Projects (2015); The People, the Park, the Ornament, Pilar Corrias, London (2014); 3 and 4 before 2 and 5, Sikkema Jenkins & Co, New York (2013); Routes and Pleasures, Susanne Vielmetter, Los Angeles Projects (2012); Sphinx Ditch, Pilar Corrias, London (2011); Leopard Complex, Sikkema Jenkins & Co, New York (2011); Stick Season, curated by Fionn Meade at SculptureCenter, New York (2010). Her work has been shown in group exhibitions at Victoria Miro, London (2018); Moore Building, presented by Larry Gagosian and Jeffrey Deitch, Miami Beach (2017); Leo Xu Projects, Shanghai (2016); Howick Place, London (2014); Lori Bookstein Fine Art, New York (2014); STUDIOLO, Zurich (2012); Cluj Museum, Cluji-Napoca (2012); Prague Biennale 5 (2011); and Mother’s Tank Station, Dublin (2011).
Text courtesy Pilar Corrias.
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