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Elizabeth Riley

Page 1 | 2 | Biography


Hallway Project (gallery entryway), PS 122 Gallery, NY, NY
Hallway Project (gallery entryway), PS 122 Gallery, NY, NY
ARTIST'S STATEMENT: My sculpture and installation has its sources in both personal meaning, and public contexts – incorporating a relationship to the body, personal and transpersonal archetypes, and architectural space. This work is most usually made for specific situations, as on residencies, or for upcoming shows. The materials used are commercially available or found, such as wood, plexiglas, and everyday items. My aim, when possible, is to include others in the outcome or process, reducing the boundary between art (and artist) and viewer (participant). My paradigm as an artist is that of the city dweller.
Fireside divide: Urb/Suburb
Fireside divide: Urb/Suburb
RIGHT TOP: In four windows, four stacked structures—each formed of a larger and smaller unit—raise questions of kind and quality of strength or support, as well as stimulating perceptions or intuitions of weight and limitation. These relations between material structures can be read as addressing issues of personal and social space, as in feelings of self worth, or considerations of pressures between social groups as in a measure of “piece of the pie.”
Difference and Equality: Windows on size
Difference and Equality: Windows on size
Smashing into the wall, uniting with the wall
Smashing into the wall, uniting with the wall
Detail from installation above
Detail from installation above
ABOVE:This installation leans against the fireplace in the gallery. Leaning the materials against the fireplace acknowledges the common identification of architectural structure (in this case both the gallery/house and the built art structure) – and the body; the fireplace as “hearth” being symbolically the center of the dwelling, as the heart and the digestive tract are the center of the body. Under the slatted lean-to structure is a rough image of a city – which is the immediate city, the city carried inside the human, and the city inside the world. Above the mantel extending to the ceiling and the length of the mantel is an enlarged snapshot of the fields directly behind the gallery. Through this photo and the wood block city below, the installation brings together two diverse worlds and joins them – asking a question about their disparity, and leaving each their distinct impress in tact.
RIGHT: The hanging circle of 50 keys, at the center of the sculpture, was given to me by a friend, and came from her mother’s house. The 10 lengths of wood can be read as potential, while the red discs are an igniting energy in the direction of movement and change. The perceptual and psychological passage from the hanging frame of wood to the center of keys is an alternative sculpture.
Dangle with keys and no angle
Dangle with keys and no angle
RIGHT, MIDDLE AND BOTTOM: In this installation there are three wooden carts which are aspects of the self, and which can be seen to be in motion. The rectangles wrapped with colored tape are units of energy. The left wall is a wall of art activity, energy, creation and desire. The energy in the carts is moving toward the wall and as though crashing into the wall – uniting with art or the self in creation.
New York, NY
New York
North America

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