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2013-10-22
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2013-10-22
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2013-08-30
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2013-09-03
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2013-09-03
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Mixed Media
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daily
0.75
2013-09-03
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0.75
2016-11-17
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Drawings
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Drawings - Untitled (Falls), 2014, Encaustic on watercolor paper, 12" x 12"
Untitled (Falls) 2014 Encaustic on watercolor paper 12" x 12"
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443102721379-5JKM2M52WHAZ7EVB7QUM/IMG_1477_EMurphy_FallsDetail.jpg
Drawings - Untitled (Falls), 2014, Encaustic on watercolor paper, 12" x 12" (detail)
Untitled (Falls) 2014 Encaustic on watercolor paper 12" x 12" (detail)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443102754571-WZQNR4E5KTBFCDTY5YF3/IMG_1469_EMurphy_Shingle_sm2.jpg
Drawings - Untitled (Shingle), 2014, Encaustic on cardboard, 12" x 12"
Untitled (Shingle) 2014 Encaustic on cardboard 12" x 12"
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443102809479-29B6FEX2563MATUCGF6S/IMG_1470_EMurphy_VA_sm2.jpg
Drawings - Untitled (VA), 2014, Encaustic on watercolor paper, 2 pieces, 12" x 12" each
Untitled (VA) 2014 Encaustic on watercolor paper 2 pieces, 12" x 12" each
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443102832908-058FC967LECEC5LGNX0Q/IMG_1471_EMurphy_VADetailV_sm2.jpg
Drawings - Untitled (VA) -- Part One V 2014 Encaustic on watercolor paper 2 pieces, 12" x 12" each (detail)
Untitled (VA) -- Part One V 2014 Encaustic on watercolor paper 2 pieces, 12" x 12" each (detail)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443102849034-2BE8IVS2RNR6PIH2RZPP/IMG_1472_EMurphy_VADetailA_sm2.jpg
Drawings - Untitled (VA) -- Part Two A, 2014, Encaustic on watercolor paper, 2 pieces, 12" x 12" each (detail)
Untitled (VA) -- Part Two A 2014 Encaustic on watercolor paper 2 pieces, 12" x 12" each (detail)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443102960997-7VBT7NQ26EJBWNX2P645/Emurphy_WaxDots_P1020005adj_email_sm2.jpg
Drawings - Untitled (Hourglass), 2014, Encaustic on watercolor paper, 16" x 16"
Untitled (Hourglass) 2014 Encaustic on watercolor paper 16" x 16"
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443104450345-6CXJU2DUP6S8R12A6PQI/IMG_1478_EMurphy_Tie.jpg
Drawings - Untitled (Tie), 2014, Encaustic on watercolor paper, 16" x 16"
Untitled (Tie) 2014 Encaustic on watercolor paper 16" x 16"
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443104495653-3UZL5FF3VSOSW0Q9D6NM/IMG_1479_EMurphy_TieDetail.jpg
Drawings - Untitled (Tie), 2014, Encaustic on watercolor paper, 16" x 16" (detail)
Untitled (Tie) 2014 Encaustic on watercolor paper 16" x 16" (detail)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443103034003-CMV31KJHUJIBROTRWHSH/IMG_1475_EMurphy_Spiral_sm2.jpg
Drawings - Untitled (Spiral), 2014, Encaustic on watercolor paper, 12" x 12"
Untitled (Spiral) 2014 Encaustic on watercolor paper 12" x 12"
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443105301920-6HHBMN4N63WHSM9BQEB1/IMG_5556_sm2.jpg
Drawings - Untitled (Square), 2014, Encaustic on watercolor paper, 16" x 16"
Untitled (Square) 2014 Encaustic on watercolor paper 16" x 16"
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443105473713-SDRT1HYRK3OG3N01X9OW/IMG_5557_sm2.jpg
Drawings - Flexors Extensors, 2014, Encaustic on watercolor paper, 2 pieces, 8" x 8" each
Flexors Extensors 2014 Encaustic on watercolor paper 2 pieces, 8" x 8" each
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443105488624-E6JLQ3RQJSDY8EG3ZO2E/IMG_5558.JPG
Drawings - Untitled (Brick), 2014, Encaustic on colored paper, 12" x 16"
Untitled (Brick) 2014 Encaustic on colored paper 12" x 16"
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443105497171-KOUR4WMGTX4CDJU8UPIK/IMG_5559.JPG
Drawings - Untitled (Brick), 2014, Encaustic on colored paper, 12" x 16" (detail)
Untitled (Brick) 2014 Encaustic on colored paper 2" x 16" (detail)
http://ellie-murphy.com/archive
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2013-10-22
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http://ellie-murphy.com/blog
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2018-05-24
http://ellie-murphy.com/blog/2018/5/24/coming-to-the-queens-public-library-peninsula-branch
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2015-12-01
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blog - The advent of December... with this story about the Bronx...
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monthly
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2015-12-01
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blog - Did I enjoy MORE UP A TREE at BAM, Indeed I did!
http://ellie-murphy.com/blog/2015/11/13/my-gift-to-you-cannot-stop-listening-to-this-tune-by-logic
monthly
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2015-11-13
http://ellie-murphy.com/blog/2015/10/15/more-ysl
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2015-10-15
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blog - More YSL...
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blog - More YSL...
http://ellie-murphy.com/blog/2015/10/14/found-this-list-from-february-march-2010
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2015-10-14
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blog - Found this List from February-March 2010
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monthly
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2015-10-08
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blog - Just can't stop thinking about Saint Laurent the movie ...
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2015-10-07
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blog - HELLO! Louise Eastman, Potholder, 2014, wool and acrylic wool, 78 x 78" RULES!
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monthly
0.5
2015-09-30
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blog - Dread Scott kicks off the 2015-16 Fine Arts Visiting Artist Lecture Series at Pratt Institute
http://ellie-murphy.com/blog/2015/9/29/nicole-eisenman-and-others-granted-macarthurs
monthly
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2015-09-29
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blog - Nicole Eisenman and others granted MacArthurs!
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2015-09-28
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blog - Ruben Ochoa, some sculpture for today.
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blog - Ruben Ochoa, some sculpture for today.
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monthly
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2015-09-25
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blog - Bobbie Oliver opens the new VALENTINE -- Ridgewood's Premier Gallery -- tonight!
Teal Daylight 68 x 63 2010
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monthly
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blog - What do you want to be when you grow up?
http://ellie-murphy.com/blog/2015/9/23/save-the-date
monthly
0.5
2015-09-23
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blog - Save the date!
http://ellie-murphy.com/blog/2015/9/22/city-lights
monthly
0.5
2015-09-22
http://ellie-murphy.com/blog/2015/9/21/autumns-equinox-happens-early-wednesday
monthly
0.5
2015-09-22
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blog - Autumn's equinox happens early Wednesday
http://ellie-murphy.com/portfolio
daily
1.0
2025-08-05
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sculpture portfolio - Never Sets, 2025, Macremé and non woven fiber, 14’ x 7’ x 3’ (installation)
Never Sets 2025 Macremé and non woven fiber 14’ x 7’ x 3’ (installation)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1754358166587-FY6A7GGSJCSJRL0QU8QZ/image-asset.jpeg
sculpture portfolio - Never Sets, 2025, Macremé and non woven fiber, 14’ x 7’ x 3’ (installation)
Never Sets 2025 Macremé and non woven fiber 14’ x 7’ x 3’ (installation)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1754357800569-9608JJEM1WGJ8J2PT146/image-asset.jpeg
sculpture portfolio - Never Sets (detail), 2025, Macremé and non woven fiber, 14’ x 7’ x 3’ (installation)
Never Sets (detail) 2025 Macremé and non woven fiber 14’ x 7’ x 3’ (installation)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1754358285087-ZDCDZNSLUNTPWFDSTAK8/image-asset.jpeg
sculpture portfolio - Never Sets, 2025, Macremé and non woven fiber 14’ x 7’ x 3’, (installation)
Never Sets 2025 Macremé and non woven fiber 14’ x 7’ x 3’ (installation)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1754351724178-N2JL82KIM77SUP7H66FX/image-asset.jpeg
sculpture portfolio - Yellow Fleece Square , 2025, Macramé and non-woven fiber, 16"x24"
Yellow Fleece Square 2025 Macramé and non-woven fiber 16"x24"
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1754361159203-3ZBMDESX9J5GICLD2XMA/image-asset.jpeg
sculpture portfolio - The Monocots, 2024, Non-woven and macramé fiber, Installation in four parts, each approximately 48” x 84” (2 sided); Left to right: Wheat/Milo, Corn/Onion, Pampas/Orchid, Iris/Palm
The Monocots 2024 Non-woven and macramé fiber with wood and hardware Installation in four parts, each piece is approximately 48” x 84” (2 sided), overall dimension variable (4 feet x 12 feet x 7 feet) Left to right: Wheat / Milo Corn / Onion Pampas / Orchid Iris / Palm
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1754361970336-GN7PIKA02NSW0F37Q0PL/image-asset.jpeg
sculpture portfolio - The Monocots (detail), 2024, Non-woven and macramé fiber, Installation in four parts, each approximately 48” x 84” (2 sided); Left to right: Wheat/Milo, Corn/Onion, Pampas/Orchid, Iris/Palm
The Monocots (detail) 2024 Non-woven and macramé fiber, Installation in four parts, each approximately 48” x 84” (2 sided) Left to right: Wheat/Milo, Corn/Onion, Pampas/Orchid, Iris/Palm
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1754362251745-96BH3N9J6X7C3Q5G860Z/image-asset.jpeg
sculpture portfolio - The Monocots, 2024, Non-woven and macramé fiber, Installation in four parts, each approximately 48” x 84” (2 sided); Left to right: Wheat/Milo, Corn/Onion, Pampas/Orchid, Iris/Palm
The Monocots 2024 Non-woven and macramé fiber, Installation in four parts, each approximately 48” x 84” (2 sided) Left to right: Wheat/Milo, Corn/Onion, Pampas/Orchid, Iris/Palm
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1663015590727-6RESHYVGZEVLZV06NUEX/image-asset.jpeg
sculpture portfolio - Blue Moves, 2022, Non-Woven Fabric, 6mm Macrame Cord, Wood and Nails, 16 feet x 10 feet, Installation “Color Wheels: Upstate Arts Weekend,” Kerhonkson, NY
Blue Moves 2022 Non-Woven Fabric, 6mm Macrame Cord, Wood and Nails 16 feet x 10 feet Installation “Color Wheels: Upstate Arts Weekend,” Kerhonkson, NY
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1754362716120-S2HTXP64Q879U6MTU697/image-asset.jpeg
sculpture portfolio - The Monocots, 2024, Non-woven and macramé fiber, Installation in four parts, each approximately 48” x 84” (2 sided); Left to right: Wheat/Milo, Corn/Onion, Pampas/Orchid, Iris/Palm
The Monocots 2024 Non-woven and macramé fiber, Installation in four parts, each approximately 48” x 84” (2 sided) Left to right: Wheat/Milo, Corn/Onion, Pampas/Orchid, Iris/Palm
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1731991821612-U54Z54ST2R3GJGHZJ9U9/TFP+Install+View-+Dina%2C+Martine%2C+Ellie%2C+Amy-+photo+credit-+Brad+Farwell.jpg
sculpture portfolio - Yellow Angle's Wings -- Installation 2024 in "Textures of Feminist Perserverance" CUNY The James Gallery, conceived and curated by artist Dina Weiss and curator Katherine Carl, Ph.D.
Yellow Angle's Wings -- Installation 2024 in "Textures of Feminist Perserverance" CUNY The James Gallery, conceived and curated by artist Dina Weiss and curator Katherine Carl, Ph.D.
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sculpture portfolio - Green Arch Pink Door, 2023, Macramé cord and non-woven fabric, 6’ x 8’
Green Arch Pink Door 2023 Macramé cord and non-woven fabric 6’ x 12’
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sculpture portfolio - Installation 2023 Red Barn Studio Museum--Left to right: Untitled (Light Pink) 45"x70", Invisible Sun 12’ x 8’, Untitled (Bright Green) 45"x70", Macramé cord and non-woven fabric
Installation 2023 Red Barn Studio Museum Left to right: Untitled (Light Pink) 45"x70" Invisible Sun 12’ x 8’ Untitled (Bright Green) 45"x70" Macramé cord and non-woven fabric
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sculpture portfolio - Invisible Sun, 2023, Macramé cord and non-woven fabric, 12’ x 8’
Invisible Sun 2023 Macramé cord and non-woven fabric 12’ x 8’
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sculpture portfolio - Ellie Murphy, Invisible Sun, 2023, 12' x 8', Macramé Cord and Non-Woven-Fabric - Red Barn Museum KS
Invisible Sun 2023 12' x 8' Macramé Cord and Non-Woven-Fabric Red Barn Museum KS
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sculpture portfolio - Blue Flag (Sky Viking), 2023, Non-Woven Fabric/Macrame Cord, 13 x 5 feet -- Red Barn Studio Museum KS
Blue Flag (Sky Viking) 2023 Non-Woven Fabric and Macrame Cord 13 x 5 feet Red Barn Studio Museum Lindsborg, KS
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sculpture portfolio - Untitled (Bright Green Light Pink), 2023, Macramé cord and non-woven fabric, 90"x70"
Untitled (Bright Green Light Pink) 2023 Macramé cord and non-woven fabric 90"x70"
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sculpture portfolio - To The Choir, 2021, macrame cord—installation—Salina Art Center, KS, dimensions variable.
Ellie Murphy To The Choir 2021 6mm polypropylene macrame cord Installation—Salina Art Center, KS (dimensions variable) You, as the choir, are encouraged to interact with this work! Help the artist, if you wish, by straightening a few cords! Enjoy, but take your time and do not rush too fast! Please do not hang from the cords, they will not support your weight! —Jefferson Goddard, SAC
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1731979874801-8I56PXVYUH2FE6BQ4ZJV/EllieMurphy.PurpleTongueEar.2023.Macrame%CC%81CordAndNonWovenFabric.20%2522x70%2522x5%2522.jpg
sculpture portfolio - Purple Tongue Ear, 2023, Macramé cord and non-woven fabric, 20" x 70" x 5"
Purple Tongue Ear 2023 Macramé cord and non-woven fabric 20" x 70" x 5"
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sculpture portfolio - Charles Vane, 2023, Macramé cord and non-woven fabric, 16' x 12'
Charles Vane 2023 Macramé cord and non-woven fabric 16' x 12'
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sculpture portfolio - Installation (Upstate Arts Weekend — Blue Marble Arts) Left to right: PinkDoor--6'x8', Invisible Sun--12'x8', Yellow Angles Wings--2 pieces, 16’ x 8’, Macramé cord and non-woven fabric
Installation (Upstate Arts Weekend — Blue Marble Arts) Left to right: PinkDoor 6'x8' Invisible Sun 12'x8' Yellow Angles Wings 2 pieces, 16’ x 8’ Macramé cord and non-woven fabric
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sculpture portfolio - Installation (Upstate Arts Weekend — Blue Marble Arts) Left to right: PinkDoor--6'x8', Invisible Sun--12'x8', Yellow Angles Wings--2 pieces, 16’ x 8’, Macramé cord and non-woven fabric
Installation (Upstate Arts Weekend — Blue Marble Arts) Left to right: PinkDoor 6'x8' Invisible Sun 12'x8' Yellow Angles Wings 2 pieces 16’ x 8’ Macramé cord and non-woven fabric
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sculpture portfolio - Installation (Upstate Arts Weekend — Blue Marble Arts) Left to right: Yellow Angles Wings--2 pieces, 16’ x 8’, Invisible Sun--12'x8', PinkDoor--6'x8', Black Drop--100" x 30" x 33"
Installation (Upstate Arts Weekend — Blue Marble Arts) Left to right: Yellow Angles Wings--2 pieces, 16’ x 8’, Invisible Sun--12'x8', PinkDoor--6'x8', Black Drop--100" x 30" x 33" Macramé and non-woven fiber with hardware
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sculpture portfolio - Installation--Detail (Upstate Arts Weekend — Blue Marble Arts) Left to right: PinkDoor--6'x8', Invisible Sun--12'x8', Yellow Angles Wings--2 pieces, 16’ x 8’, Macramé and non-woven fiber
Installation — Detail (Upstate Arts Weekend — Blue Marble Arts) Left to right: PinkDoor--6'x8' Invisible Sun--12'x8' Yellow Angles Wings--2 pieces, 16’ x 8’ Macramé and non-woven fiber
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sculpture portfolio - Installation (Upstate Arts Weekend — Blue Marble Arts) Left to right: PinkDoor--6'x8', Invisible Sun--12'x8', Yellow Angles Wings--2 pieces, 16’ x 8’, Macramé and non-woven fiber
Installation (Upstate Arts Weekend — Blue Marble Arts) Left to right: PinkDoor--6'x8' Invisible Sun--12'x8' Yellow Angles Wings--2 pieces, 16’ x 8’ Macramé and non-woven fiber
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sculpture portfolio - Ellie Murphy, Outside Sketches, 2022, Soaring Gardens Artist Residency, Meshoppen, PA - Installation
Ellie Murphy Outside Sketches 2022 Macramé and non-woven fiber on PEX tube with monofilament 12 and 16 feet x 8 feet (Installation—dimensions variable) Soaring Gardens Artist Residency, Meshoppen, PA
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sculpture portfolio - Ellie Murphy, Sky Blue C, 2022, Macrame and non-woven fiber, 17" x 55" x 5"
Ellie Murphy Sky Blue C 2022 Macramé and non-woven fiber 17” x 55” x 5”
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sculpture portfolio - Ellie Murphy, Brown World, 2022, Macrame and non-woven fiber, 18" x 26" x 4"
Ellie Murphy Brown World 2022 Macrame and non-woven fiber 18" x 26" x 4"
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1674663021560-FPV3OBL3M9Y0SQYMP5NZ/image-asset.jpeg
sculpture portfolio - Ellie Murphy, White Triangle, 2022, Macrame and non-woven fiber, 20" x 25" x 5"
Ellie Murphy White Triangle 2022 Macrame and non-woven fiber 20" x 25" x 5"
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1646760571465-VGWOLU3EPA0MRL4F7BJJ/image-asset.jpeg
sculpture portfolio - To The Choir, 2021, macrame cord—installation—Salina Art Center, KS, dimensions variable.
Ellie Murphy To The Choir 2021 6mm polypropylene macrame cordInstallation— Salina Art Center, KS (dimensions variable) You, as the choir, are encouraged to interact with this work! Help the artist, if you wish, by straightening a few cords! Enjoy, but take your time and do not rush too fast! Please do not hang from the cords, they will not support your weight! —Jefferson Goddard, SAC
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1674663649967-ANVZYBMQP0ZMEOH9GWHM/image-asset.jpeg
sculpture portfolio - Ellie Murphy, Yellow Fleece, 2022, Macrame and non-woven fiber, 8" x 48" x 4"
Ellie Murphy Yellow Fleece 2022 Macramé and non-woven fiber 8” x 48” x 4”
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1674663260889-DIU4LPI6B4MV9MOQFRF4/image-asset.jpeg
sculpture portfolio - Ellie Murphy, Blue-Green Beard, 2022, Macrame and non-woven fiber, 13" x 25" x 5"
Ellie Murphy Blue-Green Beard 2022 Macramé and non-woven fiber 13” x 25” x 5”
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1663016009466-60JUWEW7NBPA3SRH576U/image-asset.jpeg
sculpture portfolio - Blue Moves, 2022, Non-Woven Fabric, 6mm Macrame Cord, Wood and Nails, 16 feet x 10 feet, Installation “Color Wheels: Upstate Arts Weekend,” Kerhonkson, NY
Blue Moves 2022 Non-Woven Fabric, 6mm Macrame Cord, Wood and Nails 16 feet x 10 feet Installation “Color Wheels: Upstate Arts Weekend,” Kerhonkson, NY
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1663015590727-6RESHYVGZEVLZV06NUEX/IMG_0410.alt.jpg
sculpture portfolio
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sculpture portfolio - Blue Moves (detail), 2022, Non-Woven Fabric, 6mm Macrame Cord, Wood and Nails 16 feet x 10 feet, Installation “Color Wheels: Upstate Arts Weekend,” Kerhonkson, NY
Blue Moves (detail) 2022 Non-Woven Fabric, 6mm Macrame Cord, Wood and Nails 16 feet x 10 feet Installation “Color Wheels: Upstate Arts Weekend,” Kerhonkson, NY
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1646759620537-K8JKLS7O1FQ7XP9ZW2FL/image-asset.jpeg
sculpture portfolio - To The Choir, 2021, 6mm polypropylene macrame cord, Installation—Salina Art Center, KS (dimensions variable)
Ellie Murphy To The Choir 2021 6mm polypropylene macrame cord Installation—Salina Art Center, KS (dimensions variable) You, as the choir, are encouraged to interact with this work!Help the artist, if you wish, by straightening a few cords!Enjoy, but take your time and do not rush too fast!Please do not hang from the cords, they will not support your weight! —Jefferson Goddard, SAC
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1646760423519-5WQESHHK8BHGP1P9XFHN/image-asset.jpeg
sculpture portfolio - To The Choir, 2021, macrame cord—installation—Salina Art Center, KS, dimensions variable.
Ellie Murphy To The Choir 2021 6mm polypropylene macrame cordInstallation— Salina Art Center, KS (dimensions variable) You, as the choir, are encouraged to interact with this work! Help the artist, if you wish, by straightening a few cords! Enjoy, but take your time and do not rush too fast! Please do not hang from the cords, they will not support your weight! —Jefferson Goddard, SAC
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1646759870793-9Z652W3YSG13DB21004G/image-asset.jpeg
sculpture portfolio - To The Choir, 2021, macrame cord—installation—Salina Art Center, KS, dimensions variable.
Ellie Murphy To The Choir 20216mm polypropylene macrame cordInstallation— Salina Art Center, KS (dimensions variable) You, as the choir, are encouraged to interact with this work! Help the artist, if you wish, by straightening a few cords! Enjoy, but take your time and do not rush too fast! Please do not hang from the cords, they will not support your weight! —Jefferson Goddard, SAC
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1646759769317-K66DNO2UP8SO0RA3FNLW/image-asset.jpeg
sculpture portfolio - To The Choir, 2021, macrame cord—installation—Salina Art Center, KS, dimensions variable.
Ellie Murphy To The Choir 2021 6mm polypropylene macrame cordInstallation— Salina Art Center, KS (dimensions variable) You, as the choir, are encouraged to interact with this work! Help the artist, if you wish, by straightening a few cords! Enjoy, but take your time and do not rush too fast! Please do not hang from the cords, they will not support your weight! —Jefferson Goddard, SAC
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1646760294426-45UVQUWD29JB6KBTVYZK/image-asset.jpeg
sculpture portfolio - To The Choir, 2021, macrame cord—installation—Salina Art Center, KS, dimensions variable.
Ellie Murphy To The Choir 2021 6mm polypropylene macrame cord Installation—Salina Art Center, KS (dimensions variable) You, as the choir, are encouraged to interact with this work! Help the artist, if you wish, by straightening a few cords! Enjoy, but take your time and do not rush too fast! Please do not hang from the cords, they will not support your weight! —Jefferson Goddard, SAC
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1646760571465-VGWOLU3EPA0MRL4F7BJJ/adj.IMG_4421.jpg
sculpture portfolio
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1646766151838-MT7813F7O6OZLNOTO2FR/image-asset.jpeg
sculpture portfolio - Reservoir Rushes, 2021, 10” x 18”, Polypropylene macrame and non-woven fiber
Ellie Murphy Reservoir Rushes 2021 10” x 18” Polypropylene macrame and non-woven fiber
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sculpture portfolio - Small Blue Flock, 2022, Macrame and non-woven fiber, 10” x 15”
Small Blue Flock 2022 Macrame and non-woven fiber 10” x 15”
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1663013978514-MX9C40DX4IMXQKUCE8BH/image-asset.jpeg
sculpture portfolio - Blue Sheep, 2022, 6mm polypropylene macrame fiber on non-woven fabric, 12” x 18”
Blue Sheep 2022 6mm polypropylene macrame fiber on non-woven fabric 12” x 18”
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1677262725001-AW9AXEFAIFS3S2DL1JQF/image-asset.jpeg
sculpture portfolio - Purple Color, 2021, Macramé cord on watercolor paper with wax and acrylic, 10" x 15" x 5"
Purple Color 2021 Macramé cord on watercolor paper with wax and acrylic 10” x 15” x 5”
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1627184489395-24WXHNO4SLQDU8FBL43R/image-asset.jpeg
sculpture portfolio - Twin Twain, 2021, 6mm polypropylene macrame fiber, Installation approximately 15' x 15' x 12'
Twin Twain 2021 6mm polypropylene macrame fiber Installation approximately 15’ x 15’ x 12’
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sculpture portfolio - Twin Twain, 2021, 6mm polypropylene macrame fiber, Installation approximately 15’ x 15’ x 12’
Twin Twain 2021 6mm polypropylene macrame fiber Installation approximately 15’ x 15’ x 12’
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1627184861909-1YT01SF47FS0V4ZBF77R/image-asset.jpeg
sculpture portfolio - Twin Twain, 2021, 6mm polypropylene macrame fiber, Installation approximately 15’ x 15’ x 12’
Twin Twain 2021 6mm polypropylene macrame fiber Installation approximately 15’ x 15’ x 12’
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1627184987023-Z18YDEMPTTZFS7ZC8C03/image-asset.jpeg
sculpture portfolio - Twin Twain, 2021, 6mm polypropylene macrame fiber, Installation approximately 15’ x 15’ x 12’
Twin Twain 2021 6mm polypropylene macrame fiber Installation approximately 15’ x 15’ x 12’
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1627185125658-THVLR72MV6ZY0ARODJYR/image-asset.jpeg
sculpture portfolio - Twin Twain, 2021, 6mm polypropylene macrame fiber, Installation approximately 15’ x 15’ x 12’
Twin Twain 2021 6mm polypropylene macrame fiber Installation approximately 15’ x 15’ x 12’
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sculpture portfolio - Half Bath, 2020, Encaustic on mixed media (paper, plasticine, and found object), 16” x 18” x 20”
Half Bath 2020 Encaustic on mixed media (paper, plasticine, and found object) 16” x 18” x 20”
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1646753262531-CUXL8I9X30D7EYRNY21A/image-asset.jpeg
sculpture portfolio - Half Bath, 2020, Encaustic on mixed media (paper, plasticine, and found object) ,16” x 18” x 20”
Half Bath 2020 Encaustic on mixed media (paper, plasticine, and found object) 16” x 18” x 20”
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1646760733053-8KZ8V57G3EJYRO9ZMDBZ/image-asset.jpeg
sculpture portfolio - Half Bath, 2020, Encaustic on mixed media (paper, plasticine, and found object), 16” x 18” x 20”
Half Bath 2020 Encaustic on mixed media (paper, plasticine, and found object) 16” x 18” x 20”
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1618801378773-EOM7ZB2FXKYMPLUVWIX7/image-asset.jpeg
sculpture portfolio - The Grandfathers, 2020, 6mm Polypropylene cord, Red Barn Studio Museum, Lindsborg, KS, 12 x 7 x 50 feet—Indoor and Outdoor Installation
The Grandfathers 2020 6mm Polypropylene cord Red Barn Studio Museum, Lindsborg, KS 12 x 7 x 100 feet—Indoor and Outdoor Installation A unique site-specific fiber installation created in-residence at the Lester Raymer Society Red Barn Studio Museum in Lindsborg, KS.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1618799353968-Z8SDIHYEHTB6OY1PX4CI/image-asset.jpeg
sculpture portfolio - The Grandfathers, 2020, 6mm Polypropylene cord, 12 x 7 x 100 feet-Installation
The Grandfathers 2020 6mm Polypropylene cord Red Barn Studio Museum, Lindsborg, KS 12 x 7 x 50 feet—Indoor and Outdoor Installation A unique site-specific fiber installation created in-residence at the Lester Raymer Society Red Barn Studio Museum in Lindsborg, KS.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1618802061168-B1MG7UX4ZC9KF8RGQZG0/image-asset.jpeg
sculpture portfolio - Ellie Murphy, The Grandfathers, 2020, 6mm Polypropylene cord, 12 x 7 x 50 feet-Installation
The Grandfathers 2020 6mm Polypropylene cord Red Barn Studio Museum, Lindsborg, KS 12 x 7 x 50 feet—Indoor and Outdoor Installation A unique site-specific fiber installation created in-residence at the Lester Raymer Society Red Barn Studio Museum in Lindsborg, KS.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1598983307925-BTR6XXA65R5GIG2HA13A/image-asset.jpeg
sculpture portfolio - Lashes (Gazebo), 2020, Polypropylene, fiber, and wood, 8 feet x 8 feet x 8 feet (installation)
Lashes (Gazebo) 2020 Polypropylene fiber and wood 8 feet x 8 feet x 8 feet Installation at Tilly Foster Farm, Brewster, NY
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1598983906040-5VJJLOC07VIPGESKDWAU/image-asset.jpeg
sculpture portfolio - Lashes (Gazebo), 2020, Polypropylene fiber and wood, 8 feet x 8 feet x 8 feet (installation)
Lashes (Gazebo) 2020 Polypropylene fiber and wood 8 feet x 8 feet x 8 feet Installation at Tilly Foster Farm, Brewster, NY
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1582737963446-ESLHM4R4OS6AYDP6UQVW/image-asset.jpeg
sculpture portfolio - Infinity Scarf, 2019, Yarn, fishing line, cassette tape, and hardware, 50” x 50” x 100"
Infinity Scarf 2019 Yarn, fishing line, cassette tape, and hardware 50” x 50” x 100" This corner piece, “Infinity Scarf,” is made almost entirely from a bag of yarn that my mother and her good friend bought at a garage sale in Kansas specifically to give to me. All these remnants an unknown person bundled together somewhat—and yet not—randomly. It sat in the corner of my studio for the better part of a year until I had a sudden thought to make a sculpture using just this entire bag of yarn. Using the whole bag and nothing else. The idea came with another one—this yarn-bag-sculpture as a fiber-net-grid—a tribute to the work of artist Alan Shields who also grew up in Kansas. I had never heard of his work until it seemed to be everywhere inspiring me. And the cassette tape, also a gift from a friend. All these random and not so random things came together. A grid of system and not system, rationalities and emotions. Jimmy Buffett’s “Volcano.”
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1582746996923-HDAB280PJ247438VH7NY/image-asset.jpeg
sculpture portfolio - Infinity Scarf (detail), 2019, Yarn, fishing line, cassette tape, and hardware, 50” x 50” x 100"
Infinity Scarf (detail) 2019 Yarn, fishing line, cassette tape, and hardware 50” x 50” x 100" This corner piece, “Infinity Scarf,” is made almost entirely from a bag of yarn that my mother and her good friend bought at a garage sale in Kansas specifically to give to me. All these remnants an unknown person bundled together somewhat—and yet not—randomly. It sat in the corner of my studio for the better part of a year until I had a sudden thought to make a sculpture using just this entire bag of yarn. Using the whole bag and nothing else. The idea came with another one—this yarn-bag-sculpture as a fiber-net-grid—a tribute to the work of artist Alan Shields who also grew up in Kansas. I had never heard of his work until it seemed to be everywhere inspiring me. And the cassette tape, also a gift from a friend. All these random and not so random things came together. A grid of system and not system, rationalities and emotions. Jimmy Buffett’s “Volcano.”
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1582738570934-YUGSK3Q3VZ6DSCRVO488/image-asset.jpeg
sculpture portfolio - Infinity Scarf (detail), 2019, Yarn, fishing line, cassette tape, and hardware, 50” x 50” x 100"
Infinity Scarf (detail) 2019 Yarn, fishing line, cassette tape, and hardware 50” x 50” x 100" This corner piece, “Infinity Scarf,” is made almost entirely from a bag of yarn that my mother and her good friend bought at a garage sale in Kansas specifically to give to me. All these remnants an unknown person bundled together somewhat—and yet not—randomly. It sat in the corner of my studio for the better part of a year until I had a sudden thought to make a sculpture using just this entire bag of yarn. Using the whole bag and nothing else. The idea came with another one—this yarn-bag-sculpture as a fiber-net-grid—a tribute to the work of artist Alan Shields who also grew up in Kansas. I had never heard of his work until it seemed to be everywhere inspiring me. And the cassette tape, also a gift from a friend. All these random and not so random things came together. A grid of system and not system, rationalities and emotions. Jimmy Buffett’s “Volcano.”
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1582746305216-01OEJEPHI8VHRM00V2C8/image-asset.jpeg
sculpture portfolio - Imitation Fearless Girl, 2019, Polypropylene cord, wood, cardboard, yarn, fishing line, and hardware, 48” x 22” x 84”
Imitation Fearless Girl 2019 Polypropylene cord, wood, cardboard, yarn, fishing line, and hardware 48” x 22” x 84”
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1582745191683-WAWEDPSK3P9ZQW5Z8YGO/image-asset.jpeg
sculpture portfolio - Imitation Fearless Girl, 2019, Polypropylene cord, wood, cardboard, yarn, fishing line, and hardware, 48” x 22” x 84”
Imitation Fearless Girl 2019 Polypropylene cord, wood, cardboard, yarn, fishing line, and hardware 48” x 22” x 84”
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1573681056190-261Y71CT6VGWQ2RE2FYQ/IMG_3959.working.jpg
sculpture portfolio - Fiber Nacho, 2019, Polypropylene cord and vinyl tube, Collaborative Concepts at Saunders Farm, Garrison, NY, 30 x 9 feet
Fiber Nacho 2019 Polypropylene cord and vinyl tube Collaborative Concepts at Saunders Farm Garrison, New York 30 x 9 feet
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1582746278135-QI4JVBY4ZLV74CSTVERX/image-asset.jpeg
sculpture portfolio - Fiber Nacho, 2019, Polypropylene cord and vinyl tube, Collaborative Concepts at Saunders Farm—Garrison, New York, 30 x 9 feet
Fiber Nacho 2019 Polypropylene cord and vinyl tube Collaborative Concepts at Saunders Farm Garrison, New York 30 x 9 feet
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1573682118303-BJG87DSN0H0VPIIBJ3WE/IMG_4102.JPG
sculpture portfolio - Fiber Nacho, 2019, Polypropylene cord and vinyl tube, Collaborative Concepts at Saunders Farm, Garrison, NY, 30 x 9 feet
Fiber Nacho 2019 Polypropylene cord and vinyl tube Collaborative Concepts at Saunders Farm Garrison, New York 30 x 9 feet
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1573693915727-SPV7SHBCSNQUPPK3FOCE/IMG_3982.working.jpg
sculpture portfolio - Fiber Nacho, 2019, Polypropylene cord and vinyl tube, Collaborative Concepts at Saunders Farm, Garrison, NY, 30 x 9 feet
Fiber Nacho 2019 Polypropylene cord and vinyl tube Collaborative Concepts at Saunders Farm Garrison, New York 30 x 9 feet
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1573677879171-VGTBMAMXC6PIAVWIUPT5/image-asset.jpeg
sculpture portfolio - Fiber Nacho, 2019, Polypropylene cord and vinyl tube, Collaborative Concepts at Saunders Farm, Garrison, NY, 30 x 9 feet
Fiber Nacho 2019 Polypropylene cord and vinyl tube Collaborative Concepts at Saunders Farm Garrison, New York 30 x 9 feet
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1582747093213-SDY90WIGC1D7ZQ3YHOOR/image-asset.jpeg
sculpture portfolio - Bookmark, 2018, 13 Library books, wood, metal, yarn, clippings, tape, and one long-continuous grosgrain ribbon bookmark, 8’ x 6” x 8’
Bookmark 2018 13 Library books, wood, metal, yarn, clippings, tape, and one long-continuous grosgrain ribbon bookmark 8’ x 6” x 8’ Made in conjunction with my ProjectArt residency at the Queens Public Library Peninsula Branch, Rockaway Beach, NY.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1582747139587-YHAMQGEZIKPDL2YNBQOK/image-asset.jpeg
sculpture portfolio - Bookmark (detail), 2018, 13 Library books, wood, metal, yarn, clippings, tape, and one long-continuous grosgrain ribbon bookmark, 8’ x 6” x 8’
Bookmark 2018 13 Library books, wood, metal, yarn, clippings, tape, and one long-continuous grosgrain ribbon bookmark 8’ x 6” x 8’ Made in conjunction with my ProjectArt residency at the Queens Public Library Peninsula Branch, Rockaway Beach, NY.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1511283360782-3WT3QN6W1UYDOEM3LTRN/P1030452_adj.email.jpg
sculpture portfolio - Big Sister, 2017, Vinyl tubing, plastic pony beads, Mylar, acrylic yarn, nylon and poly propylene cord with hardware, 18' x 16'
Big Sister 2017 Vinyl tubing, plastic pony beads, Mylar, acrylic yarn, nylon and poly propylene cord with hardware 18' x 16' BIG SISTER was designed specifically for Summit Public Art and the Summit YMCA building in collaboration with the members of Arc of Union County who donated their talent and efforts to making all the beaded elements of this sculpture. BIG SISTER starts with the idea of taking something small or overlooked —an accessory, trim, or decoration, a necklace for instance— and enlarging it so greatly that it becomes architecturally significant. This kinetic sculpture additionally makes visible that which is unseen —the wind and the weather is one example— but nonetheless surrounds us at all times. It is a celebration of the small things in society that we take for granted and a friendly reminder not to ignore them.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1511283465761-1IKG565ALU5QC0MSW2N6/P1030439_adj.email.SM.jpg
sculpture portfolio - Big Sister, 2017, Vinyl tubing, plastic pony beads, Mylar, acrylic yarn, nylon and poly propylene cord with hardware, 18' x 16'
Big Sister 2017 Vinyl tubing, plastic pony beads, Mylar, acrylic yarn, nylon and poly propylene cord with hardware 18' x 16' BIG SISTER was designed specifically for Summit Public Art and the Summit YMCA building in collaboration with the members of Arc of Union County who donated their talent and efforts to making all the beaded elements of this sculpture. BIG SISTER starts with the idea of taking something small or overlooked —an accessory, trim, or decoration, a necklace for instance— and enlarging it so greatly that it becomes architecturally significant. This kinetic sculpture additionally makes visible that which is unseen —the wind and the weather is one example— but nonetheless surrounds us at all times. It is a celebration of the small things in society that we take for granted and a friendly reminder not to ignore them.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1511283684727-X34KLZ0CZ4Y8FUGBQNNT/P1030416_alt.email.SM.jpg
sculpture portfolio - Big Sister, 2017. Vinyl tubing, plastic pony beads, Mylar, acrylic yarn, nylon and poly propylene cord with hardware, 18' x 16'
Big Sister 2017 Vinyl tubing, plastic pony beads, Mylar, acrylic yarn, nylon and poly propylene cord with hardware 18' x 16' BIG SISTER was designed specifically for Summit Public Art and the Summit YMCA building in collaboration with the members of Arc of Union County who donated their talent and efforts to making all the beaded elements of this sculpture. BIG SISTER starts with the idea of taking something small or overlooked —an accessory, trim, or decoration, a necklace for instance— and enlarging it so greatly that it becomes architecturally significant. This kinetic sculpture additionally makes visible that which is unseen —the wind and the weather is one example— but nonetheless surrounds us at all times. It is a celebration of the small things in society that we take for granted and a friendly reminder not to ignore them.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1511283866256-3PXF5IXG42A1K5FIN0QW/P1030386.email.SM.jpg
sculpture portfolio - Big Sister, 2017, Vinyl tubing, plastic pony beads, Mylar, acrylic yarn, nylon and poly propylene cord with hardware, 18' x 16'
Big Sister 2017 Vinyl tubing, plastic pony beads, Mylar, acrylic yarn, nylon and poly propylene cord with hardware 18' x 16' BIG SISTER was designed specifically for Summit Public Art and the Summit YMCA building in collaboration with the members of Arc of Union County who donated their talent and efforts to making all the beaded elements of this sculpture. BIG SISTER starts with the idea of taking something small or overlooked —an accessory, trim, or decoration, a necklace for instance— and enlarging it so greatly that it becomes architecturally significant. This kinetic sculpture additionally makes visible that which is unseen —the wind and the weather is one example— but nonetheless surrounds us at all times. It is a celebration of the small things in society that we take for granted and a friendly reminder not to ignore them.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1511283966726-2ZMZI8VMVVM1KN28PV6F/P1030354.email.SM.jpg
sculpture portfolio - Big Sister, 2017, Vinyl tubing, plastic pony beads, Mylar, acrylic yarn, nylon and poly propylene cord with hardware, 18' x 16'
Big Sister 2017 Vinyl tubing, plastic pony beads, Mylar, acrylic yarn, nylon and poly propylene cord with hardware 18' x 16' BIG SISTER was designed specifically for Summit Public Art and the Summit YMCA building in collaboration with the members of Arc of Union County who donated their talent and efforts to making all the beaded elements of this sculpture. BIG SISTER starts with the idea of taking something small or overlooked —an accessory, trim, or decoration, a necklace for instance— and enlarging it so greatly that it becomes architecturally significant. This kinetic sculpture additionally makes visible that which is unseen —the wind and the weather is one example— but nonetheless surrounds us at all times. It is a celebration of the small things in society that we take for granted and a friendly reminder not to ignore them.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1511284198828-CI7SAL5643PLBUOS5C0M/Pano.STUDIO.OFFICE.mtme.jpg
sculpture portfolio - "Music to My Eyes," A group show organized by Ellie Murphy in association with Bushwick Open Studios 2017
"Music to My Eyes" A group show organized by Ellie Murphy in association with Bushwick Open Studios 2017 https://artsinbushwick.org/events/music-to-my-eyes-the-open-studio-show/ Liz Atz Joy Curtis Rico Gatson Ellen Hackl Fagan Libby Hartle Elisa Jensen Lars Kremer Alex Lee Harris Bjoern Meyer-Ebrecht Natalie Moore Brooke Moyse Kelly Parr Seth David Rubin Sol'Sax Patrick Todd Laura Watt Increasingly, when I look at the work of my artist friends, colleagues and neighbors, I end up thinking about MUSIC. Pattern, geometry and system in art can make you feel the rhythm, theme and flow of music. Form and line recall melody and harmony. Art has tone and music has color—both have texture and repetition. Music can be easy, familiar and light, but it can also express deeply held universal truths that inspire, not just the individual, but whole societies. Music to my Eyes is a group show about the presence of music in art. The musical qualities of melody, harmony, tone, flow, texture, repetition and rhythm are referenced through the elements of art—form, line, color, space, texture, value and shape. Abstraction and representation fuse. The synesthetic act of seeing what you usually hear creates a hybrid emotional response where the connection to the viewer is direct, immediate, intuitive and felt in the body in a way that is similar to a musical response. Is this more honest and genuine than sight alone, and does it stir in us the important need—not just to look for—but to sense and feel our common truth?
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1496961879046-JHDNR7WS5F7Z3Q5MUO2W/EllieMurphyCrossBowForChashama2017.jpg
sculpture portfolio - Cross Bow, 2017, Polypropylene fiber, vinyl tube, webbing fastener, bungee cord, and metal, 19.5‘ x 10’ x 3’ (Site-specific installation)
Cross Bow 2017 Polypropylene fiber, vinyl tube, webbing fastener, bungee cord, and metal 19.5‘ x 10’ x 3’ (Site-specific installation) With this site-specific piece, Cross Bow, I am trying to make a physical picture of the rhythm, repetition and tension between public and private life. How do the actions of one individual, one strand, work in relation to the whole, or the whole of society? Does one set of fibers work together with or in opposition to the other?
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1479170573534-B67VRVMWOJ777LB8QHNG/_DSC0802_150dpi.jpg
sculpture portfolio - Comb, 2016, 4’ x 16’ x 6,” Yarn with metal and wood
Comb 2016 4’ x 16’ x 6” Yarn with metal and wood “Comb” was created specifically for this space at The Foundations Center. I began with the idea of a long fiber sculpture where one color slowly blends, combines and fades into the next. Where the color strands are parallel individuals standing beside each other, but who also work together, braiding and merging their textures and efforts to contribute to the collective whole. Photo: Peter Gynd
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1479170959808-NSJEL6P92DUCLZUSKUCB/_DSC0771_300dpi.jpg
sculpture portfolio - Comb, 2016, 4’ x 16’ x 6,” Yarn with metal and wood
Comb 2016 4’ x 16’ x 6” Yarn with metal and wood “Comb” was created specifically for this space at The Foundations Center. I began with the idea of a long fiber sculpture where one color slowly blends, combines and fades into the next. Where the color strands are parallel individuals standing beside each other, but who also work together, braiding and merging their textures and efforts to contribute to the collective whole. Photo: Peter Gynd
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1479172525135-130HU9N02IH12QNEJPD7/_DSC0802_300dpi_detail.jpg
sculpture portfolio - Comb (detail), 2016, 4’ x 16’ x 6,” Yarn with metal and wood
Comb 2016 4’ x 16’ x 6” Yarn with metal and wood “Comb” was created specifically for this space at The Foundations Center. I began with the idea of a long fiber sculpture where one color slowly blends, combines and fades into the next. Where the color strands are parallel individuals standing beside each other, but who also work together, braiding and merging their textures and efforts to contribute to the collective whole. Photo: Peter Gynd
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1479172159962-GGXXHJ56XT9XBDNG4YB5/DSC_2373-Edit.jpg
sculpture portfolio - Comb, 2016, 4’ x 16’ x 6,” Yarn with metal and wood
Comb 2016 4’ x 16’ x 6” Yarn with metal and wood “Comb” was created specifically for this space at The Foundations Center. I began with the idea of a long fiber sculpture where one color slowly blends, combines and fades into the next. Where the color strands are parallel individuals standing beside each other, but who also work together, braiding and merging their textures and efforts to contribute to the collective whole. Photo: Jordan Rathkopf
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1731978576035-CK4OUE56LJ1UQQLIMM8Z/EllieMurphy.AmongFriends148.2024.Macrame%CC%81CordOnPaper.jpg
sculpture portfolio - Untitled (Among Friends 4 #148), 2024, Macramé cord on paper, 7” x 9”
Untitled (Among Friends 4 #148) 2024 Macramé cord on paper 7” x 9”
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sculpture portfolio - Blue Moves 1976 (Among Friends 3), 2022, 4-Ply acrylic yarn on handmade acid-free paper with zipper, 7” x 9”
Blue Moves 1976 (Among Friends 3) 2022 4-Ply acrylic yarn on handmade acid-free paper with zipper 7” x 9”
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1582769556398-WUOHTYIZ79M9WW42KX6X/image-asset.jpeg
sculpture portfolio - Untitled (Among Friends after Speakerboxx), 2019, Polypropylene cord on handmade acid-free paper with zipper, 7” x 9”
Untitled (Among Friends after Speakerboxx) 2019 Polypropylene cord on handmade acid-free paper with zipper 7” x 9”
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1582769888548-B8VT78WP1D61FZ9DFWMB/image-asset.jpeg
sculpture portfolio - Untitled (Among Friends after Speakerboxx), back, 2019, Polypropylene cord on handmade acid-free paper with zipper, 7” x 9”
Untitled (Among Friends after Speakerboxx), back 2019 Polypropylene cord on handmade acid-free paper with zipper 7” x 9”
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sculpture portfolio - Untitled (Among Friends), 2018, Acrylic yarn on zipped acid-free handmade paper, 7” x 9”
Untitled (Among Friends) 2018 Acrylic yarn on zipped acid-free handmade paper 7” x 9”
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1582752364863-YI5L5LTLBHWWCD5OL9EP/image-asset.jpeg
sculpture portfolio - Self-Portrait 144 (Just Gross), 2017, Archival ink-jet, 12” x 12”
Self-Portrait 144 (Just Gross) 2017 Archival ink-jet 12” x 12” Every selfie on my iPhone from the previous 365 day period.
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sculpture portfolio - Little Women, 2016, Polypropylene cord, steel, and wood, Franconia Sculpture Park, MN, 17 x 9 x 20 feet
Little Women 2016 Polypropylene cord, steel, and wood Franconia Sculpture Park, MN 17 x 9 x 20 feet
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sculpture portfolio - Little Women, 2016, Polypropylene cord, steel, and wood, Franconia Sculpture Park, MN, 17 x 9 x 20 feet.
Little Women 2016 Polypropylene cord, steel, and wood Franconia Sculpture Park, MN 17 x 9 x 20 feet I had always wanted to make a semi-permanent outdoor sculpture with a very large hanging fiber element or fringe. So I designed a project based on this simple idea for the Franconia Sculpture Park 20th Anniversary Fellowship. In reference to Louisa May Alcott’s 1868 novel Little Women, I chose four colors of 6mm polypropylene braid to represent each of the March sisters, the “little women” of the book’s title. Meg the oldest is a redhead (orange cord), Jo the next is a tomboy represented by blue, Beth is an ombre mix of browns because she is a shy homebody, and Amy the youngest has vibrant yellow blond hair. These women, however, are so big that the viewer can enjoy walking through their hair-curtain-tentacle-fringe while the wind makes the fiber seem like waves, leaves or tall grass blowing. I intend park visitors to move through, touch and enjoy the sculpture (please style or detangle) but to be careful about hanging or climbing on it.
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sculpture portfolio - Little Women, 2016, 6mm Polypropylene cord, wood and painted metal, Franconia Sculpture Park, MN, 17 x 9 x 20 feet
Little Women 2016 6mm Polypropylene cord, wood and painted metal Franconia Sculpture Park, MN 17 x 9 x 20 feet I had always wanted to make a semi-permanent outdoor sculpture with a very large hanging fiber element or fringe. So I designed a project based on this simple idea for the Franconia Sculpture Park 20th Anniversary Fellowship. In reference to Louisa May Alcott’s 1868 novel Little Women, I chose four colors of 6mm polypropylene braid to represent each of the March sisters, the “little women” of the book’s title. Meg the oldest is a redhead (orange cord), Jo the next is a tomboy represented by blue, Beth is an ombre mix of browns because she is a shy homebody, and Amy the youngest has vibrant yellow blond hair. These women, however, are so big that the viewer can enjoy walking through their hair-curtain-tentacle-fringe while the wind makes the fiber seem like waves, leaves or tall grass blowing. I intend park visitors to move through, touch and enjoy the sculpture (please style or detangle) but to be careful about hanging or climbing on it.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1479349210757-OI7U92BM9UFHT21GEW34/image-asset.jpeg
sculpture portfolio - Little Women 2016, 6mm Polypropylene cord, wood and painted metal, Franconia Sculpture Park, MN 17 x 9 x 20 feet
Little Women 2016 6mm Polypropylene cord, wood and painted metal Franconia Sculpture Park, MN 17 x 9 x 20 feet I had always wanted to make a semi-permanent outdoor sculpture with a very large hanging fiber element or fringe. So I designed a project based on this simple idea for the Franconia Sculpture Park 20th Anniversary Fellowship. In reference to Louisa May Alcott’s 1868 novel Little Women, I chose four colors of 6mm polypropylene braid to represent each of the March sisters, the “little women” of the book’s title. Meg the oldest is a redhead (orange cord), Jo the next is a tomboy represented by blue, Beth is an ombre mix of browns because she is a shy homebody, and Amy the youngest has vibrant yellow blond hair. These women, however, are so big that the viewer can enjoy walking through their hair-curtain-tentacle-fringe while the wind makes the fiber seem like waves, leaves or tall grass blowing. I intend park visitors to move through, touch and enjoy the sculpture (please style or detangle) but to be careful about hanging or climbing on it.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1479349799743-3BZARBH87TYDCU72AE88/IMG_3899_adj.jpg
sculpture portfolio - Little Women (detail), 2016, 6mm Polypropylene cord, wood and painted metal, Franconia Sculpture Park, MN, 17 x 9 x 20 feet
Little Women (detail) 2016 6mm Polypropylene cord, wood and painted metal Franconia Sculpture Park, MN 17 x 9 x 20 feet I had always wanted to make a semi-permanent outdoor sculpture with a very large hanging fiber element or fringe. So I designed a project based on this simple idea for the Franconia Sculpture Park 20th Anniversary Fellowship. In reference to Louisa May Alcott’s 1868 novel Little Women, I chose four colors of 6mm polypropylene braid to represent each of the March sisters, the “little women” of the book’s title. Meg the oldest is a redhead (orange cord), Jo the next is a tomboy represented by blue, Beth is an ombre mix of browns because she is a shy homebody, and Amy the youngest has vibrant yellow blond hair. These women, however, are so big that the viewer can enjoy walking through their hair-curtain-tentacle-fringe while the wind makes the fiber seem like waves, leaves or tall grass blowing. I intend park visitors to move through, touch and enjoy the sculpture (please style or detangle) but to be careful about hanging or climbing on it.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1479349418087-BUI9BWHPV8WWW0TCYPG5/IMG_3928_adj.jpg
sculpture portfolio - Little Women, 2016, 6mm Polypropylene cord, wood and painted metal, Franconia Sculpture Park, MN, 17 x 9 x 20 feet
Little Women 2016 mm Polypropylene cord, wood and painted metal Franconia Sculpture Park, MN 17 x 9 x 20 feet I had always wanted to make a semi-permanent outdoor sculpture with a very large hanging fiber element or fringe. So I designed a project based on this simple idea for the Franconia Sculpture Park 20th Anniversary Fellowship. In reference to Louisa May Alcott’s 1868 novel Little Women, I chose four colors of 6mm polypropylene braid to represent each of the March sisters, the “little women” of the book’s title. Meg the oldest is a redhead (orange cord), Jo the next is a tomboy represented by blue, Beth is an ombre mix of browns because she is a shy homebody, and Amy the youngest has vibrant yellow blond hair. These women, however, are so big that the viewer can enjoy walking through their hair-curtain-tentacle-fringe while the wind makes the fiber seem like waves, leaves or tall grass blowing. I intend park visitors to move through, touch and enjoy the sculpture (please style or detangle) but to be careful about hanging or climbing on it.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1479345004275-ZB3NPHYC7DNM5WVWYVW2/image-asset.jpeg
sculpture portfolio - Little Women, 2016, 6mm Polypropylene cord, wood and painted metal, Franconia Sculpture Park, MN, 17 x 9 x 20 feet
Little Women 2016 6mm Polypropylene cord, wood and painted metal Franconia Sculpture Park, MN 17 x 9 x 20 feet I had always wanted to make a semi-permanent outdoor sculpture with a very large hanging fiber element or fringe. So I designed a project based on this simple idea for the Franconia Sculpture Park 20th Anniversary Fellowship. In reference to Louisa May Alcott’s 1868 novel Little Women, I chose four colors of 6mm polypropylene braid to represent each of the March sisters, the “little women” of the book’s title. Meg the oldest is a redhead (orange cord), Jo the next is a tomboy represented by blue, Beth is an ombre mix of browns because she is a shy homebody, and Amy the youngest has vibrant yellow blond hair. These women, however, are so big that the viewer can enjoy walking through their hair-curtain-tentacle-fringe while the wind makes the fiber seem like waves, leaves or tall grass blowing. I intend park visitors to move through, touch and enjoy the sculpture (please style or detangle) but to be careful about hanging or climbing on it.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1479349339356-QBLXC1BIFX3JUT0VSO2N/IMG_4151_adj.jpg
sculpture portfolio - Little Women, 2016, 6mm Polypropylene cord, wood and painted metal, Franconia Sculpture Park, MN, 17 x 9 x 20 feet
Little Women 2016 mm Polypropylene cord, wood and painted metal Franconia Sculpture Park, MN 17 x 9 x 20 feet I had always wanted to make a semi-permanent outdoor sculpture with a very large hanging fiber element or fringe. So I designed a project based on this simple idea for the Franconia Sculpture Park 20th Anniversary Fellowship. In reference to Louisa May Alcott’s 1868 novel Little Women, I chose four colors of 6mm polypropylene braid to represent each of the March sisters, the “little women” of the book’s title. Meg the oldest is a redhead (orange cord), Jo the next is a tomboy represented by blue, Beth is an ombre mix of browns because she is a shy homebody, and Amy the youngest has vibrant yellow blond hair. These women, however, are so big that the viewer can enjoy walking through their hair-curtain-tentacle-fringe while the wind makes the fiber seem like waves, leaves or tall grass blowing. I intend park visitors to move through, touch and enjoy the sculpture (please style or detangle) but to be careful about hanging or climbing on it.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1479349989033-YOCNUP7D52U5CDIVDD4H/IMG_4158_adj.jpg
sculpture portfolio - Little Women, 2016, 6mm Polypropylene cord, wood and painted metal, Franconia Sculpture Park, MN, 17 x 9 x 20 feet
Little Women 2016 mm Polypropylene cord, wood and painted metal Franconia Sculpture Park, MN 17 x 9 x 20 feet I had always wanted to make a semi-permanent outdoor sculpture with a very large hanging fiber element or fringe. So I designed a project based on this simple idea for the Franconia Sculpture Park 20th Anniversary Fellowship. In reference to Louisa May Alcott’s 1868 novel Little Women, I chose four colors of 6mm polypropylene braid to represent each of the March sisters, the “little women” of the book’s title. Meg the oldest is a redhead (orange cord), Jo the next is a tomboy represented by blue, Beth is an ombre mix of browns because she is a shy homebody, and Amy the youngest has vibrant yellow blond hair. These women, however, are so big that the viewer can enjoy walking through their hair-curtain-tentacle-fringe while the wind makes the fiber seem like waves, leaves or tall grass blowing. I intend park visitors to move through, touch and enjoy the sculpture (please style or detangle) but to be careful about hanging or climbing on it.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1479348751520-15Y8N2F01GK7ZU1IQVST/image-asset.jpeg
sculpture portfolio - Little Women, 2016, 6mm Polypropylene cord, wood and painted metal, Franconia Sculpture Park, MN 17 x 9 x 20 feet
Little Women 2016 mm Polypropylene cord, wood and painted metal Franconia Sculpture Park, MN 17 x 9 x 20 feet I had always wanted to make a semi-permanent outdoor sculpture with a very large hanging fiber element or fringe. So I designed a project based on this simple idea for the Franconia Sculpture Park 20th Anniversary Fellowship. In reference to Louisa May Alcott’s 1868 novel Little Women, I chose four colors of 6mm polypropylene braid to represent each of the March sisters, the “little women” of the book’s title. Meg the oldest is a redhead (orange cord), Jo the next is a tomboy represented by blue, Beth is an ombre mix of browns because she is a shy homebody, and Amy the youngest has vibrant yellow blond hair. These women, however, are so big that the viewer can enjoy walking through their hair-curtain-tentacle-fringe while the wind makes the fiber seem like waves, leaves or tall grass blowing. I intend park visitors to move through, touch and enjoy the sculpture (please style or detangle) but to be careful about hanging or climbing on it.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1479349908414-9D3CMQNXZBW7ONMFW85Z/IMG_4138_adj.jpg
sculpture portfolio - Little Women, 2016, 6mm Polypropylene cord, wood and painted metal, Franconia Sculpture Park, MN, 17 x 9 x 20 feet
Little Women 2016 mm Polypropylene cord, wood and painted metal Franconia Sculpture Park, MN 17 x 9 x 20 feet I had always wanted to make a semi-permanent outdoor sculpture with a very large hanging fiber element or fringe. So I designed a project based on this simple idea for the Franconia Sculpture Park 20th Anniversary Fellowship. In reference to Louisa May Alcott’s 1868 novel Little Women, I chose four colors of 6mm polypropylene braid to represent each of the March sisters, the “little women” of the book’s title. Meg the oldest is a redhead (orange cord), Jo the next is a tomboy represented by blue, Beth is an ombre mix of browns because she is a shy homebody, and Amy the youngest has vibrant yellow blond hair. These women, however, are so big that the viewer can enjoy walking through their hair-curtain-tentacle-fringe while the wind makes the fiber seem like waves, leaves or tall grass blowing. I intend park visitors to move through, touch and enjoy the sculpture (please style or detangle) but to be careful about hanging or climbing on it.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1442865455969-33R4E8KTN6HB6TTFHQUA/CornersForSeasonsP1020648.jpg
sculpture portfolio - Corners for Seasons (Installation view), 2015, Acrylic yarn, wood, Four units, each 7' x 6'
Corners for Seasons (Installation view), 2015 Acrylic yarn, wood 7 feet x 6 feet
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1442865938060-ZAYX1O4GEP42KXVGK14E/CornersForSeasonsSpringP1020689.jpg
sculpture portfolio - Corners for Seasons Spring, 2015, Acrylic yarn, wood, 7' x 6'
Corners for Seasons Spring 2015 Acrylic yarn, wood 7 feet x 6 feet
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1442866945274-5Z773OMAX7M81ZP3WP65/CornersForSeasonsSummerP1020675.jpg
sculpture portfolio - Corners for Seasons Summer, 2015, Acrylic yarn, wood, 7' x 6'
Corners for Seasons Summer, 2015 Acrylic yarn, wood 7 feet x 6 feet
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1442867031989-PC3N7OE1B230EDOGRHWG/CornersForSeasonsFallP1020680.jpg
sculpture portfolio - Corners for Seasons Fall, 2015, Acrylic yarn, wood, 7' x 6'
Corners for Seasons Fall, 2015 Acrylic yarn, wood 7 feet x 6 feet
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1442867540625-ENZMT8PKC8EB0Y0E19DP/CornersForSeasonsWinterP1020661.jpg
sculpture portfolio - Corners for Seasons Winter, 2015, Acrylic yarn, wood, 7' x 6'
Corners for Seasons Winter, 2015 Acrylic yarn, wood 7 feet x 6 feet
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1442870111517-FS6ZAW4T1ZH44DSX1MFN/POTFinstallPANOimage1.jpg
sculpture portfolio - Pleasures of the Flesh (Installation view), 2015, Curated by Ellie Murphy and Kelly Parr, Outpost Artists Resources, Ridgewood Queens, New York, outpostartistsresources.org
Pleasures of the Flesh (Installation view), 2015 Curated by Ellie Murphy and Kelly Parr Outpost Artists Resources, Ridgewood Queens, New York outpostartistsresources.org
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1442870131932-2YG3GD43C5PXLYZD6K15/DenimBurkaTasselP1020609.jpg
sculpture portfolio - Denim Burka Tassel, 2005-2015, 25 pounds of acrylic yarn, beads and rope with hook, 7' with rope dimensions variable, Detail from Pleasures of the Flesh, 2015
Denim Burka Tassel, 2005-2015 25 pounds of acrylic yarn, beads and rope with hook 7 feet with rope dimensions variable Detail from Pleasures of the Flesh, 2015 Curated by Ellie Murphy and Kelly Parr Outpost Artists Resources, Ridgewood Queens, New York outpostartistsresources.org
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1442941214992-SDSQJ7VLDCYX89DRNDE0/image-asset.jpeg
sculpture portfolio - Teen Baleen (Corset), 2015, Yarn with fabric, wood and metal, 7' x 4' x 11'
Teen Baleen (Corset), 2015 Yarn with fabric, wood and metal 7' x 4' x 11'
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1442941689383-JPB35L3IIYLAKSPWS3TF/image-asset.jpeg
sculpture portfolio - Teen Baleen (Corset), 2015, Yarn with fabric, wood and metal, 7' x 4' x 11'
Teen Baleen (Corset), 2015 Yarn with fabric, wood and metal 7' x 4' x 11'
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1442941788732-31RBCVWTE52FRIPDO0FI/image-asset.jpeg
sculpture portfolio - Teen Baleen (detail), 2015, Yarn with fabric, wood and metal, 7' x 4' x 11'
Teen Baleen (detail) 2015 Yarn with fabric, wood and metal 7' x 4' x 11'
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1442942100345-TJKWS2I2J1PWNQ9NDCP7/TeenBaleen.Detail1.P1020519.jpg
sculpture portfolio - Teen Baleen (detail), 2015, Yarn with fabric, wood and metal, 7' x 4' x 11'
Teen Baleen (detail) 2015 Yarn with fabric, wood and metal 7' x 4' x 11'
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1442941941907-617QERUF6MBNM3X9JI7A/image-asset.jpeg
sculpture portfolio - Teen Baleen (detail), 2015, Yarn with fabric, wood and metal, 7' x 4' x 11'
Teen Baleen (detail) 2015 Yarn with fabric, wood and metal 7' x 4' x 11'
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1442947426075-89F0HUIUT99GKZA4QBT9/276.365.full.IMG_3110.jpg
sculpture portfolio - Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Installation)
PAPER JAM: Exploring Visual Strategies for Social Concern "On April 14, 2014, 276 schoolgirls were kidnapped from Government Secondary School, Chibok by Boko Haram terrorists in Nigeria. 57 escaped and 219 are still missing." —#bringbackourgirls Stolen 276/365 is a work in paper made as a tribute to the abducted schoolgirls of Chibok, Nigeria. This appalling incident, the female students were taken from their school while taking their final exams, is a sad act of violence upon the right of every woman and girl to an education, a right we often take for granted. This tribute coincides with the one-year anniversary of the abduction. 219 girls have yet to return. While searching for pictures of the missing girls, I noticed that the photos of the escaped and returned girls (numbering 57) showed them wearing the bright traditional wax prints and fancy laces that are popular in Nigeria and West Africa. I have always been interested in these elaborate fabrics and their global history (these prints are inspired by Indonesian batik and often made in Holland or England and imported back into Africa). When I was five years old, a friend of my mother's returned from Nigeria bringing a piece of this type of cloth for me, a gift which amazed me. Picking up on my own history and interest in these fabrics and on how each of the returned girls had chosen a pattern and print for her own dress as individual and expressive as her self, I collected 276 different brightly-colored prints from different fabric websites (the popular brands for these fabrics are Vlisco, Uniwax, Woodin, Daviva and GDP). I then stripped out the color and linked them into a continuous strand.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1442947434663-9IGKEHPK9OVUGA9HW73U/276.365.full2.P1020380.jpg
sculpture portfolio - Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Installation)
PAPER JAM: Exploring Visual Strategies for Social Concern "On April 14, 2014, 276 schoolgirls were kidnapped from Government Secondary School, Chibok by Boko Haram terrorists in Nigeria. 57 escaped and 219 are still missing." —#bringbackourgirls Stolen 276/365 is a work in paper made as a tribute to the abducted schoolgirls of Chibok, Nigeria. This appalling incident, the female students were taken from their school while taking their final exams, is a sad act of violence upon the right of every woman and girl to an education, a right we often take for granted. This tribute coincides with the one-year anniversary of the abduction. 219 girls have yet to return. While searching for pictures of the missing girls, I noticed that the photos of the escaped and returned girls (numbering 57) showed them wearing the bright traditional wax prints and fancy laces that are popular in Nigeria and West Africa. I have always been interested in these elaborate fabrics and their global history (these prints are inspired by Indonesian batik and often made in Holland or England and imported back into Africa). When I was five years old, a friend of my mother's returned from Nigeria bringing a piece of this type of cloth for me, a gift which amazed me. Picking up on my own history and interest in these fabrics and on how each of the returned girls had chosen a pattern and print for her own dress as individual and expressive as her self, I collected 276 different brightly-colored prints from different fabric websites (the popular brands for these fabrics are Vlisco, Uniwax, Woodin, Daviva and GDP). I then stripped out the color and linked them into a continuous strand.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1442947831681-2MOZZAYH829LOWZDM6IW/276.365.full.inside.P1020366.jpg
sculpture portfolio - Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Installation)
Stolen 276/365 is a work in paper made as a tribute to the abducted schoolgirls of Chibok, Nigeria. This appalling incident, the female students were taken from their school while taking their final exams, is a sad act of violence upon the right of every woman and girl to an education, a right we often take for granted. This tribute coincides with the one-year anniversary of the abduction. 219 girls have yet to return. While searching for pictures of the missing girls, I noticed that the photos of the escaped and returned girls (numbering 57) showed them wearing the bright traditional wax prints and fancy laces that are popular in Nigeria and West Africa. I have always been interested in these elaborate fabrics and their global history (these prints are inspired by Indonesian batik and often made in Holland or England and imported back into Africa). When I was five years old, a friend of my mother's returned from Nigeria bringing a piece of this type of cloth for me, a gift which amazed me. Picking up on my own history and interest in these fabrics and on how each of the returned girls had chosen a pattern and print for her own dress as individual and expressive as her self, I collected 276 different brightly-colored prints from different fabric websites (the popular brands for these fabrics are Vlisco, Uniwax, Woodin, Daviva and GDP). I then stripped out the color and linked them into a continuous strand.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1442948798925-BSCVPN4A6MEJRRBVWDIB/image-asset.jpeg
sculpture portfolio - Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Detail)
Stolen 276/365 is a work in paper made as a tribute to the abducted schoolgirls of Chibok, Nigeria. This appalling incident, the female students were taken from their school while taking their final exams, is a sad act of violence upon the right of every woman and girl to an education, a right we often take for granted. This tribute coincides with the one-year anniversary of the abduction. 219 girls have yet to return. While searching for pictures of the missing girls, I noticed that the photos of the escaped and returned girls (numbering 57) showed them wearing the bright traditional wax prints and fancy laces that are popular in Nigeria and West Africa. I have always been interested in these elaborate fabrics and their global history (these prints are inspired by Indonesian batik and often made in Holland or England and imported back into Africa). When I was five years old, a friend of my mother's returned from Nigeria bringing a piece of this type of cloth for me, a gift which amazed me. Picking up on my own history and interest in these fabrics and on how each of the returned girls had chosen a pattern and print for her own dress as individual and expressive as her self, I collected 276 different brightly-colored prints from different fabric websites (the popular brands for these fabrics are Vlisco, Uniwax, Woodin, Daviva and GDP). I then stripped out the color and linked them into a continuous strand.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1442948882808-N7ZGJ4OWBXTXU5GOGD3I/276.365.detail2.front.P1020333.jpg
sculpture portfolio - Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Detail)
Stolen 276/365 is a work in paper made as a tribute to the abducted schoolgirls of Chibok, Nigeria. This appalling incident, the female students were taken from their school while taking their final exams, is a sad act of violence upon the right of every woman and girl to an education, a right we often take for granted. This tribute coincides with the one-year anniversary of the abduction. 219 girls have yet to return. While searching for pictures of the missing girls, I noticed that the photos of the escaped and returned girls (numbering 57) showed them wearing the bright traditional wax prints and fancy laces that are popular in Nigeria and West Africa. I have always been interested in these elaborate fabrics and their global history (these prints are inspired by Indonesian batik and often made in Holland or England and imported back into Africa). When I was five years old, a friend of my mother's returned from Nigeria bringing a piece of this type of cloth for me, a gift which amazed me. Picking up on my own history and interest in these fabrics and on how each of the returned girls had chosen a pattern and print for her own dress as individual and expressive as her self, I collected 276 different brightly-colored prints from different fabric websites (the popular brands for these fabrics are Vlisco, Uniwax, Woodin, Daviva and GDP). I then stripped out the color and linked them into a continuous strand.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1442948889455-6MD4ND0PJ1VFTFGWL6YN/276.365.detail1.front.IMG_3040.jpg
sculpture portfolio - Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Detail)
Stolen 276/365 is a work in paper made as a tribute to the abducted schoolgirls of Chibok, Nigeria. This appalling incident, the female students were taken from their school while taking their final exams, is a sad act of violence upon the right of every woman and girl to an education, a right we often take for granted. This tribute coincides with the one-year anniversary of the abduction. 219 girls have yet to return. While searching for pictures of the missing girls, I noticed that the photos of the escaped and returned girls (numbering 57) showed them wearing the bright traditional wax prints and fancy laces that are popular in Nigeria and West Africa. I have always been interested in these elaborate fabrics and their global history (these prints are inspired by Indonesian batik and often made in Holland or England and imported back into Africa). When I was five years old, a friend of my mother's returned from Nigeria bringing a piece of this type of cloth for me, a gift which amazed me. Picking up on my own history and interest in these fabrics and on how each of the returned girls had chosen a pattern and print for her own dress as individual and expressive as her self, I collected 276 different brightly-colored prints from different fabric websites (the popular brands for these fabrics are Vlisco, Uniwax, Woodin, Daviva and GDP). I then stripped out the color and linked them into a continuous strand.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1442948908492-8E0FRYL0MYH7G2XY99M7/276.365.detail3.back.IMG_3096.jpg
sculpture portfolio - Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Detail)
Stolen 276/365 is a work in paper made as a tribute to the abducted schoolgirls of Chibok, Nigeria. This appalling incident, the female students were taken from their school while taking their final exams, is a sad act of violence upon the right of every woman and girl to an education, a right we often take for granted. This tribute coincides with the one-year anniversary of the abduction. 219 girls have yet to return. While searching for pictures of the missing girls, I noticed that the photos of the escaped and returned girls (numbering 57) showed them wearing the bright traditional wax prints and fancy laces that are popular in Nigeria and West Africa. I have always been interested in these elaborate fabrics and their global history (these prints are inspired by Indonesian batik and often made in Holland or England and imported back into Africa). When I was five years old, a friend of my mother's returned from Nigeria bringing a piece of this type of cloth for me, a gift which amazed me. Picking up on my own history and interest in these fabrics and on how each of the returned girls had chosen a pattern and print for her own dress as individual and expressive as her self, I collected 276 different brightly-colored prints from different fabric websites (the popular brands for these fabrics are Vlisco, Uniwax, Woodin, Daviva and GDP). I then stripped out the color and linked them into a continuous strand.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1442948916901-PKI425LJZPHBVQP0XWI1/276.365.detail2.back.IMG_3103.jpg
sculpture portfolio - Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Detail)
Stolen 276/365 is a work in paper made as a tribute to the abducted schoolgirls of Chibok, Nigeria. This appalling incident, the female students were taken from their school while taking their final exams, is a sad act of violence upon the right of every woman and girl to an education, a right we often take for granted. This tribute coincides with the one-year anniversary of the abduction. 219 girls have yet to return. While searching for pictures of the missing girls, I noticed that the photos of the escaped and returned girls (numbering 57) showed them wearing the bright traditional wax prints and fancy laces that are popular in Nigeria and West Africa. I have always been interested in these elaborate fabrics and their global history (these prints are inspired by Indonesian batik and often made in Holland or England and imported back into Africa). When I was five years old, a friend of my mother's returned from Nigeria bringing a piece of this type of cloth for me, a gift which amazed me. Picking up on my own history and interest in these fabrics and on how each of the returned girls had chosen a pattern and print for her own dress as individual and expressive as her self, I collected 276 different brightly-colored prints from different fabric websites (the popular brands for these fabrics are Vlisco, Uniwax, Woodin, Daviva and GDP). I then stripped out the color and linked them into a continuous strand.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1442948927064-JQ7QVKB5POMLIPW5KGOM/276.365.detail1.back.P1020359.jpg
sculpture portfolio - Stolen 276/365, 2015, Pen and pencil on paper with thread, yarn and metal, 219 units 6" x 8" each, overall dimensions variable (Detail)
Stolen 276/365 is a work in paper made as a tribute to the abducted schoolgirls of Chibok, Nigeria. This appalling incident, the female students were taken from their school while taking their final exams, is a sad act of violence upon the right of every woman and girl to an education, a right we often take for granted. This tribute coincides with the one-year anniversary of the abduction. 219 girls have yet to return. While searching for pictures of the missing girls, I noticed that the photos of the escaped and returned girls (numbering 57) showed them wearing the bright traditional wax prints and fancy laces that are popular in Nigeria and West Africa. I have always been interested in these elaborate fabrics and their global history (these prints are inspired by Indonesian batik and often made in Holland or England and imported back into Africa). When I was five years old, a friend of my mother's returned from Nigeria bringing a piece of this type of cloth for me, a gift which amazed me. Picking up on my own history and interest in these fabrics and on how each of the returned girls had chosen a pattern and print for her own dress as individual and expressive as her self, I collected 276 different brightly-colored prints from different fabric websites (the popular brands for these fabrics are Vlisco, Uniwax, Woodin, Daviva and GDP). I then stripped out the color and linked them into a continuous strand.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1442953591679-8DKZJKIAWSSUK5J4HZCB/image-asset.jpeg
sculpture portfolio - Diffuser, 2014, Yarn, 2.5' x 2' x 5'
Diffuser 2014 Yarn 2.5 feet x 2 feet x 5 feet
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1442953643616-G2B6X0GV2Q9GA1MKJGRW/Diffuser.ADJ+IMG_0984_SM2.jpg
sculpture portfolio - Diffuser, 2014, Yarn, 2.5' x 2' x 5'
Diffuser 2014 Yarn 2.5' x 2' x 5'
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1442953657061-05OGZJYPGT8TN3R2K688/Diffuser.Detail.ADJ+IMG_0991.jpg
sculpture portfolio - Diffuser (detail), 2014, Yarn, 2.5' x 2' x 5'
Diffuser (detail) 2014 Yarn 2.5' x 2' x 5'
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1442956557182-Y3QK5Z7G9LXM6D2IKKE2/Murphy.Ellie.Baleen_0603.MixedMedia.9x12x8.2014-high.jpg
sculpture portfolio - Baleen, 2014, Yarn with wood and metal, 9‘ x 12’ x 8’, (Installation)
Baleen 2014 Yarn with wood and metal 9‘ x 12’ x 8’ This piece, titled “Baleen” (2014), was created specifically for Drawing Rooms. I was inspired by the contemplative nature of the convent rooms and the off-the-wall concept of the drawing process to create a room-size curtain of fringe. A feeding system and a filtering system, I hope it invites the viewer to take in nourishment and blow out what confines.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1442956965727-LDZH0FT28Q30V8F0FC5O/Baleen5.IMG_0598.jpg
sculpture portfolio - Baleen, 2014, Yarn with wood and metal, 9‘ x 12’ x 8’, (Installation)
Baleen 2014 Yarn with wood and metal 9‘ x 12’ x 8’ This piece, titled “Baleen” (2014), was created specifically for Drawing Rooms. I was inspired by the contemplative nature of the convent rooms and the off-the-wall concept of the drawing process to create a room-size curtain of fringe. A feeding system and a filtering system, I hope it invites the viewer to take in nourishment and blow out what confines.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1442956984682-JTAAZR272BXEBVF60TA5/Baleen5.IMG_0596.jpg
sculpture portfolio - Baleen, 2014, Yarn with wood and metal, 9‘ x 12’ x 8’, (Installation)
Baleen 2014 Yarn with wood and metal 9‘ x 12’ x 8’ This piece, titled “Baleen” (2014), was created specifically for Drawing Rooms. I was inspired by the contemplative nature of the convent rooms and the off-the-wall concept of the drawing process to create a room-size curtain of fringe. A feeding system and a filtering system, I hope it invites the viewer to take in nourishment and blow out what confines.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1442957902838-B8F1OBRI0M5CC1FFQY0K/image-asset.jpeg
sculpture portfolio - Baleen (Video clip), 2014, Yarn with wood and metal, 9‘ x 12’ x 8’, (Installation)
Baleen 2014 Yarn with wood and metal 9‘ x 12’ x 8’ This piece, titled “Baleen” (2014), was created specifically for Drawing Rooms. I was inspired by the contemplative nature of the convent rooms and the off-the-wall concept of the drawing process to create a room-size curtain of fringe. A feeding system and a filtering system, I hope it invites the viewer to take in nourishment and blow out what confines.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1442958683122-CHW8IBCNK286ZKEMLKBV/Ballen.altVIEW.IMG_5512.jpg
sculpture portfolio - Baleen, 2014, Yarn with wood and metal, 9‘ x 12’ x 8’, (Alternate installation)
Baleen 2014 Yarn with wood and metal 9‘ x 12’ x 8’ This piece, titled “Baleen” (2014), was created specifically for Drawing Rooms. I was inspired by the contemplative nature of the convent rooms and the off-the-wall concept of the drawing process to create a room-size curtain of fringe. A feeding system and a filtering system, I hope it invites the viewer to take in nourishment and blow out what confines.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443122056721-77GO4BJALYK7G753HXT6/_MG_3689_web.jpg
sculpture portfolio - Untitled (Post), 2014, Acrylic yarn, wood, metal, plasticine and plastic, 50" x 30', from The Communal Table, June 2014, curated by Björn Meyer-Ebrecht
Untitled (Post) 2014 Acrylic yarn, wood, metal, plasticine and plastic 50 x 30 inches from The Communal Table, June 2014, curated by Björn Meyer-Ebrecht
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443122613007-HIEQ5MBJ6JA8ERYGPSI7/_MG_2991_web.jpg
sculpture portfolio - Untitled (Post), 2014, Acrylic yarn, wood, metal, plasticine and plastic, 50" x 30", from The Communal Table, June 2014, curated by Björn Meyer-Ebrecht
Untitled (Post) 2014 Acrylic yarn, wood, metal, plasticine and plastic 50 x 30 inches from The Communal Table, June 2014, curated by Björn Meyer-Ebrecht
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443122621928-CCREC8TYS888VYRTXIN9/_MG_2980_web.jpg
sculpture portfolio - Untitled (Post), 2014, Acrylic yarn, wood, metal, plasticine and plastic, 50 x 30", from The Communal Table, June 2014, curated by Björn Meyer-Ebrecht
Untitled (Post) 2014 Acrylic yarn, wood, metal, plasticine and plastic 50 x 30 inches from The Communal Table, June 2014, curated by Björn Meyer-Ebrecht
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443123298774-473HRX0JERU9KOGYAYYI/UntitledPost.EMurphy_ADJ.jpg
sculpture portfolio - Untitled (Post), 2014, Acrylic yarn, wood, metal, plasticine and plastic, 50" x 30", from The Communal Table, June 2014, curated by Björn Meyer-Ebrecht (detail)
Untitled (Post) 2014 Acrylic yarn, wood, metal, plasticine and plastic 50 x 30 inches from The Communal Table, June 2014, curated by Björn Meyer-Ebrecht (detail)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443125856360-7KPYTNYUKS7J7WSRN74I/IMG_7397_ADJ.jpg
sculpture portfolio - Thirty Pounds Lime (from TRIM), 2011-2014, Acrylic yarn, 14' x 45' (dimensions variable)
Thirty Pounds Lime (from TRIM) 2011-2014 Acrylic yarn 14 x 45 feet (dimensions variable)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443126246900-01BX1OJB48OF7CCO45RQ/IMG_7386_ADJ.jpg
sculpture portfolio - Thirty Pounds Lime (from TRIM), 2011-2014, Acrylic yarn, 14' x 45' (dimensions variable)
Thirty Pounds Lime (from TRIM) 2011-2014 Acrylic yarn 14 x 45 feet (dimensions variable)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443126273115-LBE2S741D6DSR3ZLI5DK/P1020151_adj.jpg
sculpture portfolio - Thirty Pounds Lime (from TRIM), 2011-2014, Acrylic yarn, 14' x 45' (detail)
Thirty Pounds Lime (from TRIM) 2011-2014 Acrylic yarn 14 x 45 feet (detail)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443126273311-LFDIUGVQC2RGDLO8KAIN/P1020154ALT4website.jpg
sculpture portfolio - Thirty Pounds Lime (from TRIM), 2011-2014, Acrylic yarn, 14' x 45' (detail)
Thirty Pounds Lime (from TRIM) 2011-2014 Acrylic yarn 14 x 45 feet (detail)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443127552657-DDRYSM2P8TMGMKRLJVT2/Tankini.ADJ.P1020136.jpg
sculpture portfolio - Untitled (Tankini), 2014, Fabric, metal, plastic beads, styrofoam and wood, 3' x 8'
Untitled (Tankini) 2014 Fabric, metal, plastic beads, styrofoam and wood 3 feet x 8 feet
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443127563337-9Q10SQZ3MIH65T5RWPP1/Tankini.detailP1020138.jpg
sculpture portfolio - Untitled (Tankini), 2014, Fabric, metal, plastic beads, styrofoam and wood, 3' x 8' (detail)
Untitled (Tankini) 2014 Fabric, metal, plastic beads, styrofoam and wood 3 feet x 8 feet
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443128656440-690AEXZ9RUIUBPLB7LBD/Screen%2Bshot%2B2013-10-17%2Bat%2B7.51.06%2BAM.png
sculpture portfolio - UNITEDunited, 2013, Plastic beads and nylon cord, 9' x 1'
UNITEDunited 2013 Plastic beads and nylon cord 9 feet x 1 foot Ellie Murphy’s beaded hanging sculpture, “UNITEDunited” looks both like a partisan election banner and the knitted scarves carried by fans of popular soccer clubs. But fans often become hooligans who can’t even wear their colors openly without causing a riot and politics quickly degenerate from unity into petty attacks and scandal. With this juxtaposition, she refers to the personal, intimate nature of joining a team while questioning the arbitrariness of this one-sided support—support which necessarily and subjectively divides us from our neighbors.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443129490346-PG7RNVBT1D9HDQK9ZKGG/Emurphy_UnitedDivided__5528+adj_email.jpeg
sculpture portfolio - UNITEDunited, 2013, Plastic beads and nylon cord, 9' x 1' (detail)
UNITEDunited 2013 Plastic beads and nylon cord 9 feet x 1 foot Ellie Murphy’s beaded hanging sculpture, “UNITEDunited” looks both like a partisan election banner and the knitted scarves carried by fans of popular soccer clubs. But fans often become hooligans who can’t even wear their colors openly without causing a riot and politics quickly degenerate from unity into petty attacks and scandal. With this juxtaposition, she refers to the personal, intimate nature of joining a team while questioning the arbitrariness of this one-sided support—support which necessarily and subjectively divides us from our neighbors.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443129503932-5I81N3VMT4TIN6NVQ0B9/Emurphy_UnitedDivided_5566_email.jpeg
sculpture portfolio - UNITEDunited, 2013, Plastic beads and nylon cord, 9' x 1' (Installation view)
UNITEDunited (from United/Divided) 2013 Plastic beads and nylon cord 9 feet x 1 foot Artist Curated Projects 5152 La Vista Court LA CA 90004 United/Divided In his video “Reds and Blues,” Rico Gatson begins with footage from the 1969 Altamont Free Concert. He makes rhythms and patterns using these colors, playing on the psychedelic experience of the pill-popping, unreserved culture of the 1960’s, L.A.gang colors, and the Blues of music. As the celebration of the festival erupts further into violence, the song continues. One is left wondering, that when we are most connected there can exist separation and division. Ellie Murphy’s beaded hanging sculpture, “UNITEDunited” looks both like a partisan election banner and the knitted scarfs carried by fans of popular soccer clubs. But fans often become hooligans who can’t even wear their colors openly without causing a riot and politics quickly degenerate from unity into petty attacks and scandal. With this juxtaposition, she refers to the personal, intimate nature of joining a team while questioning the arbitrariness of this one-sided support—support which necessarily and subjectively divides us from our neighbors. Installed together, “Reds and Blues” and “UNITEDunited” use color and form to ask what connects people to each other. How do people choose to see and define these connections? And when do those connections get lost in the crowd.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443129900686-E2XK5XK77ZSV56NLPQP1/Emurphy_SubwayProm_Roomba_2013_email.jpg
sculpture portfolio - Roomba, 2013, Metal, fabric, yarn, wood, 100" x 20", on left Subway Prom, 2013, Metal, fabric, yarn, beads, 100" x 20", on right
Roomba 2013 Metal, fabric, yarn, wood 100 inches x 20 inches, on left Subway Prom 2013 Metal, fabric, yarn, beads 100 inches x 20 inches, on right
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443129913503-0ZCKB2GH36HNF9EWBY2B/Emurphy_SubwayProm_Roomba_Detail__5830_email.jpg
sculpture portfolio - Roomba (detail), 2013, Metal, fabric, yarn, wood, 100" x 20", on left Subway Prom (detail), 2013, Metal, fabric, yarn, beads, 100" x 20", on right
Roomba (detail) 2013 Metal, fabric, yarn, wood 100 inches x 20 inches, on left Subway Prom (detail) 2013 Metal, fabric, yarn, beads 100 inches x 20 inches, on right
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443129920288-03L8C26IRAB30N20GZUL/Emurphy_Roomba_Detail_2013_email.jpg
sculpture portfolio - Roomba, 2013, Metal, fabric, yarn, wood 100" x 20", detail
Roomba 2013 Metal, fabric, yarn, wood 100 inches x 20 inches, detail
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443552830303-9IKON8JNLQ7KANN9B15B/image-asset.jpeg
sculpture portfolio - Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Mother Shipton's Cave (Petrifying Well) 2013 Plastic, mylar, yarn, mixed media 125 feet x 10 feet "Rock Street 2013" was curated by artist Deborah Brown and gallerist Lesley Heller to showcase the work of 19 Brooklyn-based artists who work primarily in sculpture. The artworks were sited on Rock Street in Bushwick, allowing visitors to engage the work at close range, outside the confines of a traditional gallery setting. The exhibition was on view continuously for 33 hours during the Bushwick Open Studios festival. Some of the work was created especially for the event and responds specifically to the site.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443552926196-2XM8WH5T5VNWZHCW85XP/adjIMG_3738.jpg
sculpture portfolio - Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Mother Shipton's Cave (Petrifying Well) 2013 Plastic, mylar, yarn, mixed media 125 feet x 10 feet "Rock Street 2013" was curated by artist Deborah Brown and gallerist Lesley Heller to showcase the work of 19 Brooklyn-based artists who work primarily in sculpture. The artworks were sited on Rock Street in Bushwick, allowing visitors to engage the work at close range, outside the confines of a traditional gallery setting. The exhibition was on view continuously for 33 hours during the Bushwick Open Studios festival. Some of the work was created especially for the event and responds specifically to the site.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443552941672-I5AV97O12N5AP8JY5O18/adjIMG_3728.jpg
sculpture portfolio - Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Mother Shipton's Cave (Petrifying Well) 2013 Plastic, mylar, yarn, mixed media 125 feet x 10 feet "Rock Street 2013" was curated by artist Deborah Brown and gallerist Lesley Heller to showcase the work of 19 Brooklyn-based artists who work primarily in sculpture. The artworks were sited on Rock Street in Bushwick, allowing visitors to engage the work at close range, outside the confines of a traditional gallery setting. The exhibition was on view continuously for 33 hours during the Bushwick Open Studios festival. Some of the work was created especially for the event and responds specifically to the site.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443552967838-3EP17OE63CG3D1ELGXY2/adjP1010642.jpg
sculpture portfolio - Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Mother Shipton's Cave (Petrifying Well) 2013 Plastic, mylar, yarn, mixed media 125 feet x 10 feet "Rock Street 2013" was curated by artist Deborah Brown and gallerist Lesley Heller to showcase the work of 19 Brooklyn-based artists who work primarily in sculpture. The artworks were sited on Rock Street in Bushwick, allowing visitors to engage the work at close range, outside the confines of a traditional gallery setting. The exhibition was on view continuously for 33 hours during the Bushwick Open Studios festival. Some of the work was created especially for the event and responds specifically to the site.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443552980922-WDD4GZDTB0I46PW93BGF/adjP1010633.jpg
sculpture portfolio - Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Mother Shipton's Cave (Petrifying Well) 2013 Plastic, mylar, yarn, mixed media 125 feet x 10 feet "Rock Street 2013" was curated by artist Deborah Brown and gallerist Lesley Heller to showcase the work of 19 Brooklyn-based artists who work primarily in sculpture. The artworks were sited on Rock Street in Bushwick, allowing visitors to engage the work at close range, outside the confines of a traditional gallery setting. The exhibition was on view continuously for 33 hours during the Bushwick Open Studios festival. Some of the work was created especially for the event and responds specifically to the site.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443553011487-Y9G1LGVYHOA9LGD6YZYU/adjP1010738.jpg
sculpture portfolio - Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Mother Shipton's Cave (Petrifying Well) 2013 Plastic, mylar, yarn, mixed media 125 feet x 10 feet "Rock Street 2013" was curated by artist Deborah Brown and gallerist Lesley Heller to showcase the work of 19 Brooklyn-based artists who work primarily in sculpture. The artworks were sited on Rock Street in Bushwick, allowing visitors to engage the work at close range, outside the confines of a traditional gallery setting. The exhibition was on view continuously for 33 hours during the Bushwick Open Studios festival. Some of the work was created especially for the event and responds specifically to the site.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443553024006-XVXIQ40J1G9WCBCFEXM1/adjIMG_3669.jpg
sculpture portfolio - Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Mother Shipton's Cave (Petrifying Well) 2013 Plastic, mylar, yarn, mixed media 125 feet x 10 feet "Rock Street 2013" was curated by artist Deborah Brown and gallerist Lesley Heller to showcase the work of 19 Brooklyn-based artists who work primarily in sculpture. The artworks were sited on Rock Street in Bushwick, allowing visitors to engage the work at close range, outside the confines of a traditional gallery setting. The exhibition was on view continuously for 33 hours during the Bushwick Open Studios festival. Some of the work was created especially for the event and responds specifically to the site.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443553029589-MFICSDCXV4O6HNSMMVY8/adjIMG_3678.jpg
sculpture portfolio - Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Mother Shipton's Cave (Petrifying Well) 2013 Plastic, mylar, yarn, mixed media 125 feet x 10 feet "Rock Street 2013" was curated by artist Deborah Brown and gallerist Lesley Heller to showcase the work of 19 Brooklyn-based artists who work primarily in sculpture. The artworks were sited on Rock Street in Bushwick, allowing visitors to engage the work at close range, outside the confines of a traditional gallery setting. The exhibition was on view continuously for 33 hours during the Bushwick Open Studios festival. Some of the work was created especially for the event and responds specifically to the site.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443554274273-O54XGYKGUZTMC0BXA03O/image-asset.jpeg
sculpture portfolio - Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Mother Shipton's Cave (Petrifying Well) 2013 Plastic, mylar, yarn, mixed media 125 feet x 10 feet "Rock Street 2013" was curated by artist Deborah Brown and gallerist Lesley Heller to showcase the work of 19 Brooklyn-based artists who work primarily in sculpture. The artworks were sited on Rock Street in Bushwick, allowing visitors to engage the work at close range, outside the confines of a traditional gallery setting. The exhibition was on view continuously for 33 hours during the Bushwick Open Studios festival. Some of the work was created especially for the event and responds specifically to the site.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443554377584-11Z9A7LWF0IWVVVZOHHN/image-asset.jpeg
sculpture portfolio - Mother Shipton's Cave (Petrifying Well), 2013, Plastic, mylar, yarn, mixed media, 125' x 10'
Mother Shipton's Cave (Petrifying Well) 2013 Plastic, mylar, yarn, mixed media 125 feet x 10 feet "Rock Street 2013" was curated by artist Deborah Brown and gallerist Lesley Heller to showcase the work of 19 Brooklyn-based artists who work primarily in sculpture. The artworks were sited on Rock Street in Bushwick, allowing visitors to engage the work at close range, outside the confines of a traditional gallery setting. The exhibition was on view continuously for 33 hours during the Bushwick Open Studios festival. Some of the work was created especially for the event and responds specifically to the site.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443556667138-EAQ0OU9ZUPR4NS6D5JQ4/image-asset.jpeg
sculpture portfolio - Omega Female, 2012, Acrylic yarn, cotton, steel, 72 x 24 x 24 inches
Omega Female 2012 Acrylic yarn, cotton, steel 72 x 24 x 24 inches
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443556778004-SGMZDCBQ1F3NTY4C7GAW/image-asset.jpeg
sculpture portfolio - Omega Female, 2012, Acrylic yarn, cotton, steel, 72 x 24 x 24 inches
Omega Female 2012 Acrylic yarn, cotton, steel 72 x 24 x 24 inches
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443558233047-Q18VJYX4ZV8O2JYA0BLQ/3GracesADJ.jpg
sculpture portfolio - 3graces, 2012, Cotton, polyester, steel and birdseed, 5 x 2 x 2 feet
3graces 2012 Cotton, polyester, steel and birdseed 5 x 2 x 2 feet
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443559525966-HXU5SGBD4H8H6DLCVKXH/image-asset.jpeg
sculpture portfolio - Historical Nostalgia, 2012, Acrylic yarn, 6' x 7' x 8' (Installation)
Historical Nostalgia 2012 Acrylic yarn 6' x 7' x 8' (Installation)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443559591666-WQY91HF1DIQ2DT2QIW9N/image-asset.jpeg
sculpture portfolio - Historical Nostalgia, 2012, Acrylic yarn, 6' x 7' x 8' (Installation)
Historical Nostalgia 2012 Acrylic yarn 6' x 7' x 8' (Installation)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443559646218-X6YC7M1V60CS2NZY34KV/image-asset.jpeg
sculpture portfolio - Historical Nostalgia, 2012, Acrylic yarn, 6' x 7' x 8' (Detail)
Historical Nostalgia 2012 Acrylic yarn 6' x 7' x 8' (Detail)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443559716803-GYAVJMDVZ7QKVMA39WGD/image-asset.jpeg
sculpture portfolio - Historical Nostalgia, 2012, Acrylic yarn, 6' x 7' x 8' (Detail)
Historical Nostalgia 2012 Acrylic yarn 6' x 7' x 8' (Detail)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443635973973-H4OVZEMAM0DQJ1697W54/image-asset.jpeg
sculpture portfolio - A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet
A Valence 2012 Yarn, wood, poly-fil, hardware 10 x 2 x 10 feet Starting with the idea of "Mind, Body and Soul—An Exploration of the Personal," I designed this piece specifically for the Fowler space. I chose yarn in fleshy tones to suggest the abstract associations we often make between the physical and the non-physical (skin). At the same time, the physical actions of winding, hanging and braiding the yarn transformed the generic, public material into intimate, personal space (narrative).
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443636030206-573AKCU5DGZD38XPY4Q7/image-asset.jpeg
sculpture portfolio - A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet
A Valence 2012 Yarn, wood, poly-fil, hardware 10 x 2 x 10 feet Starting with the idea of "Mind, Body and Soul—An Exploration of the Personal," I designed this piece specifically for the Fowler space. I chose yarn in fleshy tones to suggest the abstract associations we often make between the physical and the non-physical (skin). At the same time, the physical actions of winding, hanging and braiding the yarn transformed the generic, public material into intimate, personal space (narrative).
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443636108943-U2RIKPJD4DUO8HVFGVQB/image-asset.jpeg
sculpture portfolio - A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet (Installation view)
A Valence 2012 Yarn, wood, poly-fil, hardware 10 x 2 x 10 feet (Installation view) Starting with the idea of "Mind, Body and Soul—An Exploration of the Personal," I designed this piece specifically for the Fowler space. I chose yarn in fleshy tones to suggest the abstract associations we often make between the physical and the non-physical (skin). At the same time, the physical actions of winding, hanging and braiding the yarn transformed the generic, public material into intimate, personal space (narrative).
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443636547543-2BYXT3A0C4NR4IWKKOC9/image-asset.jpeg
sculpture portfolio - A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet (Detail)
A Valence 2012 Yarn, wood, poly-fil, hardware 10 x 2 x 10 feet (Detail) Starting with the idea of "Mind, Body and Soul—An Exploration of the Personal," I designed this piece specifically for the Fowler space. I chose yarn in fleshy tones to suggest the abstract associations we often make between the physical and the non-physical (skin). At the same time, the physical actions of winding, hanging and braiding the yarn transformed the generic, public material into intimate, personal space (narrative).
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443636604146-X3GXYL3K6WS71I4XXMXA/image-asset.jpeg
sculpture portfolio - A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet (Detail)
A Valence 2012 Yarn, wood, poly-fil, hardware 10 x 2 x 10 feet (Detail) Starting with the idea of "Mind, Body and Soul—An Exploration of the Personal," I designed this piece specifically for the Fowler space. I chose yarn in fleshy tones to suggest the abstract associations we often make between the physical and the non-physical (skin). At the same time, the physical actions of winding, hanging and braiding the yarn transformed the generic, public material into intimate, personal space (narrative).
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443636653945-JVSI707YTAH5YFNAYNQM/image-asset.jpeg
sculpture portfolio - A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet (Detail)
A Valence 2012 Yarn, wood, poly-fil, hardware 10 x 2 x 10 feet (Detail) Starting with the idea of "Mind, Body and Soul—An Exploration of the Personal," I designed this piece specifically for the Fowler space. I chose yarn in fleshy tones to suggest the abstract associations we often make between the physical and the non-physical (skin). At the same time, the physical actions of winding, hanging and braiding the yarn transformed the generic, public material into intimate, personal space (narrative).
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443639399215-K5D9WPLC1WO7M71I48OB/image-asset.jpeg
sculpture portfolio - A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet (Studio view)
A Valence 2012 Yarn, wood, poly-fil and hardware 10 x 2 x 10 feet (Studio view)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443639478005-F9J1W1I5E4N1GAV5K5AL/image-asset.jpeg
sculpture portfolio - A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet (Studio view detail)
A Valence 2012 Yarn, wood, poly-fil and hardware 10 x 2 x 10 feet (Studio view detail)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443640094619-87MSRI8RKE8GOMHG5FI9/image-asset.jpeg
sculpture portfolio - A Valence, 2012, Yarn, wood, poly-fil and hardware, 10 x 2 x 10 feet (Studio view detail)
A Valence 2012 Yarn, wood, poly-fil and hardware 10 x 2 x 10 feet (Studio view detail)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443705503991-TC8RBCA7KOXO6M5H6CTW/image-asset.jpeg
sculpture portfolio - Green Piece, 2011, Acrylic yarn and tin foil, 7' x 8' x 9' (Installation commissioned by Norte Maar)
Green Piece 2011 Acrylic yarn and tin foil 7' x 8' x 9' (Installation commissioned by Norte Maar)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443705774755-D9PC2HQHEBTOQ4VCJJMZ/image-asset.jpeg
sculpture portfolio - Green Piece. 2011, Acrylic yarn and tin foil, 7' x 8' x 9' (Installation commissioned by Norte Maar)
Green Piece 2011 Acrylic yarn and tin foil 7' x 8' x 9' (Installation commissioned by Norte Maar)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443706125800-6MA2W35NWRXNV55FB6WV/image-asset.jpeg
sculpture portfolio - Green Piece, 2011, Acrylic yarn and tin foil, 7' x 8' x 9' (Detail)
Green Piece 2011 Acrylic yarn and tin foil 7' x 8' x 9' (Detail)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443706248480-G2MUTLYTBGBLCC3XNCL2/image-asset.jpeg
sculpture portfolio - Green Piece, 2011, Acrylic yarn and tin foil, 7' x 8' x 9' (Detail)
Green Piece 2011 Acrylic yarn and tin foil 7' x 8' x 9' (Detail)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443707160504-Z1LB8HK1ENOQBII550CR/GreenPiece.Full2.P1010073.jpg
sculpture portfolio - Green Piece, 2011, Acrylic yarn and tin foil, 7' x 8' x 9' (Studio view)
Green Piece 2011 Acrylic yarn and tin foil 7' x 8' x 9' (Studio view)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443706485002-F592P5VCHJYGLIQCEKML/image-asset.jpeg
sculpture portfolio - Green Piece, 2011, Acrylic yarn and tin foil, 7' x 8' x 9' (Studio view)
Green Piece 2011 Acrylic yarn and tin foil 7' x 8' x 9' (Studio view)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443722732667-N5YREZ00Q7X0IK7M89UP/image-asset.png
sculpture portfolio - Reel, 2004-2011, DVD loop, 14 minutes (Detail 1.10)
Reel 2004-2011 DVD loop, 14 minutes (1.10 detail) This footage dates from when I first began making large yarn sculptures and was experimenting with how to fabricate them. As I was unwinding pounds of yarn off skeins and onto the armature I had set up, I put a video camera in the studio to record myself at work. I started to think of this process as very analog and set up my cassette tape player with music to accompany me while I was working.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443709171057-CKT2APFSXVMJZUJRI6CG/image-asset.jpeg
sculpture portfolio - Reel, 2004-2011, DVD loop, 14 minutes
Reel 2004-2011 DVD loop, 14 minutes This footage dates from when I first began making large yarn sculptures and was experimenting with how to fabricate them. As I was unwinding pounds of yarn off skeins and onto the armature I had set up, I put a video camera in the studio to record myself at work. I started to think of this process as very analog and set up my cassette tape player with music to accompany me while I was working.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443743265654-PUP5ZIHH65TXO205UJA6/image-asset.jpeg
sculpture portfolio - Magenta Bridges, 2011, Acrylic yarn, 5' x 8' (Installation)
Magenta Bridges 2011 Acrylic yarn 5' x 8' (Installation)
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sculpture portfolio - Magenta Bridges, 2011, Acrylic yarn, 5' x 8' (Detail)
Magenta Bridges 2011 Acrylic yarn 5' x 8' (Detail)
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sculpture portfolio - Laura, 2005-11, Acrylic Yarn, hardware, 3 x 4 x 9 feet
Laura 2005-11 Acrylic Yarn, hardware 3 x 4 x 9 feet
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443746355075-NNZ9GI4TY65THDJT1PA4/image-asset.jpeg
sculpture portfolio - Laura, 2005-11, Acrylic Yarn, hardware, 3 x 4 x 9 feet
Laura 2005-11 Acrylic Yarn, hardware 3 x 4 x 9 feet
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443746385993-8GLAILF4IOKZYYHEEDUC/image-asset.jpeg
sculpture portfolio - Laura, 2005-11, Acrylic Yarn, hardware, 3 x 4 x 9 feet
Laura 2005-11 Acrylic Yarn, hardware 3 x 4 x 9 feet
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443746444232-4SU2X82YIYQVJX8ACH79/image-asset.jpeg
sculpture portfolio - Laura, 2005-11, Acrylic Yarn, hardware, 3 x 4 x 9 feet (Detail)
Laura 2005-11 Acrylic Yarn, hardware 3 x 4 x 9 feet (Detail)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443746485301-Y4PMA9KCIEB69TEEM697/image-asset.jpeg
sculpture portfolio - Laura, 2005-11, Acrylic Yarn, hardware, 3 x 4 x 9 feet (Detail)
Laura 2005-11 Acrylic Yarn, hardware 3 x 4 x 9 feet (Detail)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444067821340-IS227IHZ7RP9FCERWIA5/image-asset.jpeg
sculpture portfolio - The Falls, 2010, Acrylic yarn, 5' x 3' x 9' (Installation)
The Falls 2010 Acrylic yarn 5' x 3' x 9' (Installation)
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sculpture portfolio - The Falls, 2010, Acrylic yarn, 5' x 3' x 9' (Detail)
The Falls 2010 Acrylic yarn 5' x 3' x 9' (Detail)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444068048287-594CTPLOUEKMMYYG7WS1/image-asset.jpeg
sculpture portfolio - The Falls, 2010, Acrylic yarn, 5' x 3' x 9' (Detail)
The Falls 2010 Acrylic yarn 5' x 3' x 9' (Detail)
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sculpture portfolio - The Falls, 2010, Acrylic yarn, 5' x 3' x 9' (Detail)
The Falls 2010 Acrylic yarn 5' x 3' x 9' (Detail)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444068145267-FE5BB8QEFZDLFE8WDB1D/image-asset.jpeg
sculpture portfolio - The Falls, 2010, Acrylic yarn, 5' x 3' x 9' (Installation view)
The Falls 2010 Acrylic yarn 5' x 3' x 9' (Installation view)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443727192012-71FFMVCAN9BNB2J5B3NK/image-asset.jpeg
sculpture portfolio - Rico Gatson and Ellie Murphy, Untitled 2010, Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line, 3' x 11' x 3' (Installtion from Collective Show)
Rico Gatson and Ellie Murphy Untitled 2010 Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line 3' x 11' x 3' (Installtion from Collective Show)
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sculpture portfolio - Rico Gatson and Ellie Murphy, Untitled, 2010, Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line, 3' x 11' x 3' (Installtion from Collective Show)
Rico Gatson and Ellie Murphy Untitled 2010 Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line 3' x 11' x 3' (Installtion from Collective Show)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443727684166-FVCNBJ5O8DCKR5RYKZGQ/image-asset.jpeg
sculpture portfolio - Rico Gatson and Ellie Murphy, Untitled, 2010, Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line, 3' x 11' x 3' (Installtion from Collective Show)
Rico Gatson and Ellie Murphy Untitled 2010 Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line 3' x 11' x 3' (Installtion from Collective Show)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443727815985-2QM5RFAU5WUMEPX51JLE/image-asset.jpeg
sculpture portfolio - Rico Gatson and Ellie Murphy Untitled, 2010, Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line, 3' x 11' x 3' (Detail from Collective Show)
Rico Gatson and Ellie Murphy Untitled 2010 Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line 3' x 11' x 3' (Detail from Collective Show)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443727897226-6R87972YI0GD2QB4H8MJ/image-asset.jpeg
sculpture portfolio - Rico Gatson and Ellie Murphy Untitled, 2010, Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line, 3' x 11' x 3' (Detail from Collective Show)
Rico Gatson and Ellie Murphy Untitled 2010 Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line 3' x 11' x 3' (Detail from Collective Show)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443727973135-WH6S01K4QRA65L3RGDLD/image-asset.jpeg
sculpture portfolio - Rico Gatson and Ellie Murphy Untitled, 2010, Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line, 3' x 11' x 3' (Detail from Collective Show)
Rico Gatson and Ellie Murphy Untitled 2010 Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line 3' x 11' x 3' (Detail from Collective Show)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443728072017-3JAWOJOJX513VSHFYFLW/image-asset.jpeg
sculpture portfolio - Rico Gatson and Ellie Murphy Untitled, 2010, Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line, 3' x 11' x 3' (Detail from Collective Show)
Rico Gatson and Ellie Murphy Untitled 2010 Gaffers tape, inkjet prints, Acrylic and wool yarn, plastic pony beads, monofilament fishing line 3' x 11' x 3' (Detail from Collective Show)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444070762702-2UIBEZ29PHVBCA9RJGF7/image-asset.jpeg
sculpture portfolio - A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Installation with video)
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College) 2010 Acrylic yarn 14' x 40' x 80' (Installation with video) TRIM is a piece about taking details and blowing them up to a huge scale. It is also a process piece that plays on both the verb and noun forms of trim. The act creating the piece is like trimming the verb and the resultant garlands of braid and tassels are trim the noun.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444071106061-25RHLVFWFJBOR6C4KOBU/image-asset.jpeg
sculpture portfolio - A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Installation with video)
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College) 2010 Acrylic yarn 14' x 40' x 80' (Installation with video) TRIM is a piece about taking details and blowing them up to a huge scale. It is also a process piece that plays on both the verb and noun forms of trim. The act creating the piece is like trimming the verb and the resultant garlands of braid and tassels are trim the noun.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444071223098-TVAJFH61GJCAV4KFC3O5/image-asset.jpeg
sculpture portfolio - A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Installation with video)
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College) 2010 Acrylic yarn 14' x 40' x 80' (Installation with video) TRIM is a piece about taking details and blowing them up to a huge scale. It is also a process piece that plays on both the verb and noun forms of trim. The act creating the piece is like trimming the verb and the resultant garlands of braid and tassels are trim the noun.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444071382208-SI4WS01P7J6UV5D6ORCH/image-asset.jpeg
sculpture portfolio - A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Detail)
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College) 2010 Acrylic yarn 14' x 40' x 80' (Detail) TRIM is a piece about taking details and blowing them up to a huge scale. It is also a process piece that plays on both the verb and noun forms of trim. The act creating the piece is like trimming the verb and the resultant garlands of braid and tassels are trim the noun.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444071433546-B1ET3SJ83VLX5MMHZQWK/image-asset.jpeg
sculpture portfolio - A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Detail)
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College) 2010 Acrylic yarn 14' x 40' x 80' (Detail) TRIM is a piece about taking details and blowing them up to a huge scale. It is also a process piece that plays on both the verb and noun forms of trim. The act creating the piece is like trimming the verb and the resultant garlands of braid and tassels are trim the noun.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444071486828-13F3YNIEE76P9LGT85F5/image-asset.jpeg
sculpture portfolio - A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Tassel detail)
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College) 2010 Acrylic yarn 14' x 40' x 80' (Tassel detail) TRIM is a piece about taking details and blowing them up to a huge scale. It is also a process piece that plays on both the verb and noun forms of trim. The act creating the piece is like trimming the verb and the resultant garlands of braid and tassels are trim the noun.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444071530719-F5TENDQ653YL5ZRGK530/image-asset.jpeg
sculpture portfolio - A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Detail)
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College) 2010 Acrylic yarn 14' x 40' x 80' (Detail) TRIM is a piece about taking details and blowing them up to a huge scale. It is also a process piece that plays on both the verb and noun forms of trim. The act creating the piece is like trimming the verb and the resultant garlands of braid and tassels are trim the noun.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444071611762-3WW44XR4K2M5WFSU852X/image-asset.jpeg
sculpture portfolio - A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn 14' x 40' x 80' (Installation detail)
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College) 2010 Acrylic yarn 14' x 40' x 80' (Installation detail) TRIM is a piece about taking details and blowing them up to a huge scale. It is also a process piece that plays on both the verb and noun forms of trim. The act creating the piece is like trimming the verb and the resultant garlands of braid and tassels are trim the noun.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444071659986-HAI1RM9893TU85F1IPGD/image-asset.jpeg
sculpture portfolio - A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College), 2010, Acrylic yarn, 14' x 40' x 80' (Work in progress)
A Work in Progress: TRIM (Installation at Usdan Gallery, Bennington College) 2010 Acrylic yarn 14' x 40' x 80' (Work in progress) TRIM is a piece about taking details and blowing them up to a huge scale. It is also a process piece that plays on both the verb and noun forms of trim. The act creating the piece is like trimming the verb and the resultant garlands of braid and tassels are trim the noun.
http://ellie-murphy.com/drawing-painting-and-encaustic
daily
0.75
2023-02-24
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1677265042713-Y235CUOA0ZQJ7ICGV2ZO/EllieMurphy.TheCurvedOne.2020.EncausticOnWatercolorPaperAndCradledWood.12%2522x12%2522.jpg
drawing painting and encaustic - The Curved One, 2020, Encaustic on watercolor paper and cradled wood, 12” x 12"
The Curved One 2020 Encaustic on watercolor paper and cradled wood 12” x 12”
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drawing painting and encaustic - The Curved One, 2020, Encaustic on watercolor paper and cradled wood, 12” x 12"
The Curved One 2020 Encaustic on watercolor paper and cradled wood 12” x 12”
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drawing painting and encaustic - The Straight One, 2020, Encaustic on watercolor paper and cradled wood, 12” x 12"
The Straight One 2020 Encaustic on watercolor paper and cradled wood 12” x 12”
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drawing painting and encaustic - Halves, 2020, Encaustic on archival watercolor paper, 11” x 14”
Ellie Murphy “Halves” 2020 Encaustic on archival watercolor paper 11” x 14”
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drawing painting and encaustic - Canopy Jealousy, 2019, Encaustic and acrylic on wood panel, 36” x 80"
Canopy Jealousy 2019 Encaustic and acrylic on wood panel 36” x 80"
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drawing painting and encaustic - Thanksgiving Baby, 2020, Encaustic on archival watercolor paper, 12” x 12”
Thanksgiving Baby 2020 12” x 12” Encaustic on archival watercolor paper
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drawing painting and encaustic - Far More Bru, 2020, Encaustic and pigment on wood panel, 8 × 8 × 1 in
Far More Bru 2020 Encaustic and pigment on wood panel 8 × 8 × 1 in
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drawing painting and encaustic - Half Sun, 2019, Encaustic and acrylic on wood panel, 28” x 80"
Half Sun 2019 Encaustic and acrylic on wood panel 28” x 80"
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drawing painting and encaustic - Forest Service, 2020, Encaustic on paper, 12” x 12”
Forest Service 2020 Encaustic on paper 12” x 12”
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drawing painting and encaustic - The Birth of Toast, 2019, Encaustic and acrylic on wood panel, 36” x 80"
The Birth of Toast 2019 Encaustic and acrylic on wood panel 36” x 80"
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drawing painting and encaustic - Bright Horizontal Serape, 2019, Encaustic and acrylic on wood panel, 80” x 36”
Bright Horizontal Serape 2019 Encaustic and acrylic on wood panel 80” x 36”
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drawing painting and encaustic - Feather Sun, 2019, Encaustic and acrylic on wood panel, 80” x 28”
Feather Sun 2019 Encaustic and acrylic on wood panel 80” x 28”
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drawing painting and encaustic - Earth and Sky (mom), 2019, Encaustic and acrylic on wood panel, 80” x 24”
Earth and Sky (mom) 2019 Encaustic and acrylic on wood panel 80” x 24”
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drawing painting and encaustic - Left to Right (All works 2017, Encaustic and acrylic on wood panel, 24 or 36" x 80"): Cheerwine, Horn of Plenty (Queen), Rules of Separation (Lake), Morning Glory (Pool), Puritan
Left to Right (All works 2017, Encaustic and acrylic on wood panel): Cheerwine, 24” x 80” Horn of Plenty (Queen), 36” x 80” Rules of Separation (Lake), 36” x 80” Morning Glory (Pool), 36” x 80” Puritan, 24” x 80” In these encaustic pieces I am trying to make a physical picture of the rhythm and repetition at the heart of ordinary life. photo: Seth David Rubin
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drawing painting and encaustic - Cheerwine, 2017, Encaustic and acrylic on wood panel, 80” x 28”
Cheerwine 2017 Encaustic and acrylic on wood panel 80” x 28”
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drawing painting and encaustic - Horn of Plenty (Queen), 2017, Encaustic and acrylic on wood panel, 80” x 36”
Horn of Plenty (Queen) 2017 Encaustic and acrylic on wood panel 80” x 36”
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drawing painting and encaustic - Rules of Separation (Lake), 2017, Encaustic and acrylic on wood panel, 80” x 36”
Rules of Separation (Lake) 2017 Encaustic and acrylic on wood panel 80” x 36”
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1511285215647-HPWWLAESKS7YDKFMGFFY/EMurphy+IMG_7269+adj.jpeg
drawing painting and encaustic - Morning Glory (Pool), detail, 2017, Encaustic and acrylic on wood panel, 36” x 80”
Morning Glory (Pool), detail, 2017, Encaustic and acrylic on wood panel, 36” x 80” In these encaustic pieces I am trying to make a physical picture of the rhythm and repetition at the heart of ordinary life.
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drawing painting and encaustic - Puritan, 2017, Encaustic and acrylic on wood panel, 28” x 80"
Puritan 2017 Encaustic and acrylic on wood panel 28” x 80"
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drawing painting and encaustic - Cape, 2016, Encaustic on paper with fiber, 40” x 90”
Cape 2016 Encaustic on paper with fiber 40” x 90”
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1582751887452-ARTRM5803F44PU6Q3OY4/image-asset.jpeg
drawing painting and encaustic - 32 Pink Strokes, 2018, Encaustic on acid-free watercolor paper, 6” x 6”
32 Pink Strokes 2018 Encaustic on acid-free watercolor paper 6” x 6”
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1582753240472-RD4V6P5FTQXI8MZPHBHM/image-asset.jpeg
drawing painting and encaustic - D’amour et d’ombre (Valentine’s Ombre), 2017, Encaustic on archival watercolor paper, 12” x 12”
D’amour et d’ombre (Valentine’s Ombre) 2017 Encaustic on archival watercolor paper 12” x 12”
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1582753803322-G58WH6JZF6J8VT7ZLO12/image-asset.jpeg
drawing painting and encaustic - Shoo-Fly Girl, 2017, Encaustic on wood panel, 10” x 10”, Inspired by the 1963 book from the American Regional Series written and illustrated by Lois Lenski.
Shoo-Fly Girl 2017 Encaustic on wood panel 10” x 10” Inspired by the 1963 book from the American Regional Series written and illustrated by Lois Lenski. https://en.wikipedia.org/wiki/Lois_Lenski Sometimes nice is nasty. I like taking sweet, seemingly harmless, traditional forms of women expressing themselves and mining them for hidden power. Aggressively normal heroines (Jo March, Laura Ingalls, Lois Lenski’s characters) inspired me when I was a girl. And despite a touch of irony, they still do. Then there’s the additional pleasure of turning these “role models” upside down. Something nice becomes a little edgy, a little frightening, is used as a symbol of feminist ambitions. Making the subtle put-down your own by subverting it and giving it a new meaning of rebellion and freedom. Nasty women hiding in plain sight—nicely breaking down the system from within—quietly, calmly, consistently, committedly, sincerely—and we are never going away.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1573574950683-QNR788QQIL650ZGRD9GI/IMG_9652.JPG
drawing painting and encaustic - Rainbow Trout, 2016, Encaustic on wood panel, 12” x 24”
Rainbow Trout 2016 Encaustic on wood panel 12” x 24” Collection of Patrick Todd.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1582753452997-Z4L9UF3Q2Q6UNRDE7RP3/image-asset.jpeg
drawing painting and encaustic - Potholder Serape, 2017, Encaustic on wood panel with fiber, 37” x 37”
Potholder Serape 2017 Encaustic on wood panel with fiber 37” x 37”
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1582831111251-8ATR18OZFSIE84KZ8S4Z/image-asset.jpeg
drawing painting and encaustic - Potholder Serape (detail), 2017, Encaustic on wood panel with fiber, 37” x 37”
Potholder Serape (detail) 2017 Encaustic on wood panel with fiber 37” x 37”
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1646766896910-O87BO91G69C8I6V8DATX/image-asset.jpeg
drawing painting and encaustic - The Gold And Green, 2016, Encaustic on archival watercolor paper, 8” x 8”
The Gold And Green 2016 Encaustic on archival watercolor paper 8” x 8”
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1582770579235-R9ZBI4N26EIJHZ81XM2H/image-asset.jpeg
drawing painting and encaustic - Serape Top Buff, 2016, Encaustic on Acid-free paper, 24” x 18”
Serape Top Buff 2016 Encaustic on Acid-free paper 24” x 18”
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1582770407634-MNUFIF6CZZQR5FTGE2WZ/image-asset.jpeg
drawing painting and encaustic - Serape Bottom Bright, 2016, Encaustic on Acid-free paper, 24” x 18”
Serape Bottom Bright 2016 Encaustic on Acid-free paper 24” x 18”
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1582831147267-E0SAULVIWVTSEAZODGVS/image-asset.jpeg
drawing painting and encaustic - Salem, 2016, Encaustic on archival paper, 30” x 20”
Salem 2016 Encaustic on archival paper 30” x 20”
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1479340258134-7FIYE7VSDNS6HVBL8XFR/EllieMurphyBricks2.jpg
drawing painting and encaustic - Bricks 2, 2016, Encaustic on acid-free paper, 22-1/2 x 30 inches
Bricks 2 2016 Encaustic on acid-free paper 22-1/2 x 30 inches
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1479339575220-2RKP38LS0BA89IZCP03B/EllieMurphySerape1.jpg
drawing painting and encaustic - Serape 1, 2016, Encaustic on acid-free paper, 30 x 22-1/2 inches
Serape 1 2016 Encaustic on acid-free paper 30 x 22-1/2 inches
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1479339890027-3FI9N5WELI9KQ63P7PH8/EllieMurphySerape1.jpg
drawing painting and encaustic - Serape 2, 2016, Encaustic on acid-free paper, 30 x 22-1/2 inches
Serape 2 2016 Encaustic on acid-free paper 30 x 22-1/2 inches
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drawing painting and encaustic - Blooming Onion, 2016, Encaustic on watercolor paper, 16" x 16"
Blooming Onion (Honnie Sonnie) 2016 Encaustic on watercolor paper 12" x 12"
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1582831393674-9ET0RTJMK4KOK6FG7UTI/image-asset.jpeg
drawing painting and encaustic - Key of Life, 2017, Encaustic on cardboard, 15” x 15”
Key of Life 2017 Encaustic on cardboard 15” x 15”
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1479350624003-ETEUNLVJOO4LY1UEOS7K/Ellie+Murphy_Silver+Bark_2016_6%2522x6%2522_%24100.jpg
drawing painting and encaustic - Silver Bark, 2016, Encaustic on paper, 6"x 6"
Silver Bark 2016 Encaustic on paper 6"x 6"
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1479350989218-V2INO3E3XY48UO69UM5V/Ellie+Murphy_Silver+Spur_2016_6%2522x6%2522_%24100.jpg
drawing painting and encaustic - Silver Spur, 2016, Encaustic on paper, 6" x 6"
Silver Spur 2016 Encaustic on paper 6" x 6"
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1479398218661-VEG3FDX8UQ8VFZZP06US/Ellie+Murphy_Tomato+Bark_2016_6%2522x6%2522_%24100.jpg
drawing painting and encaustic - Tomato Bark, 2016, Encaustic on paper, 6" x 6"
Tomato Bark 2016 Encaustic on paper 6" x 6"
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drawing painting and encaustic - Tomato Paste, 2016, Encaustic on paper, 6" x 6"
Tomato Paste 2016 Encaustic on paper 6" x 6"
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drawing painting and encaustic - Walnut Bark, 2016, Encaustic on paper, 6" x 6"
Walnut Bark 2016 Encaustic on paper 6" x 6"
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drawing painting and encaustic - Walnut Whip, 2016, Encaustic on paper, 6" x 6"
Walnut Whip 2016 Encaustic on paper 6" x 6"
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1443127810974-N7KJ8HP9ZU380ZCHL20A/5Drawings.Case.IMG_7254.jpg
drawing painting and encaustic - Five Untitled Drawings, 2013-2014, Encaustic with copper wire and acrylic yarn. 3 12" and 2 16" pieces
Five Untitled Drawings 2013-2014 Encaustic with copper wire and acrylic yarn 3 12-inch and 2 16-inch pieces
http://ellie-murphy.com/new-gallery-2
daily
0.75
2024-11-19
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New Gallery - Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation dimensions variable)
Rico Gatson and Ellie Murphy "Pac Man" at ACP (Artist Curated Projects), Los Angeles 2009 Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images 5 beaded curtains, each 30 x 80 inches (Installation dimensions variable) We began to consider the gallery’s architecture as a starting point. Right away, Ellie wanted to elaborate on the arched doorways. The designs for her beaded curtains developed from the form of the arch and thinking of it as a coffin, a setting sun, a ghost, a church window, and moved conceptually from there. Rico wanted to work on the walls to create a collage and drawing that responds immediately to the environment. He made elements in his studio to bring to Los Angeles so he could assemble them all spontaneously into the finished piece on site. “Pac Man” became a metaphor for the back and forth dialog involved in creating the show, and then began to resonate with the current turn in the economy from consumption to conservation. We were inspired by ACP’s intimate, social and experimental venue, and found this to be a singular opportunity to respond to the larger political environment in a really personal way.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444079104428-CI4Z8HY3I5J09HMK9GNM/image-asset.jpeg
New Gallery - Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation dimensions variable)
Rico Gatson and Ellie Murphy "Pac Man" at ACP (Artist Curated Projects), Los Angeles 2009 Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images 5 beaded curtains, each 30 x 80 inches (Installation dimensions variable) We began to consider the gallery’s architecture as a starting point. Right away, Ellie wanted to elaborate on the arched doorways. The designs for her beaded curtains developed from the form of the arch and thinking of it as a coffin, a setting sun, a ghost, a church window, and moved conceptually from there. Rico wanted to work on the walls to create a collage and drawing that responds immediately to the environment. He made elements in his studio to bring to Los Angeles so he could assemble them all spontaneously into the finished piece on site. “Pac Man” became a metaphor for the back and forth dialog involved in creating the show, and then began to resonate with the current turn in the economy from consumption to conservation. We were inspired by ACP’s intimate, social and experimental venue, and found this to be a singular opportunity to respond to the larger political environment in a really personal way.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444079693343-82SD11GMC0I73K26N8ET/image-asset.jpeg
New Gallery - Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation dimensions variable)
Rico Gatson and Ellie Murphy "Pac Man" at ACP (Artist Curated Projects), Los Angeles 2009 Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images 5 beaded curtains, each 30 x 80 inches (Installation dimensions variable) We began to consider the gallery’s architecture as a starting point. Right away, Ellie wanted to elaborate on the arched doorways. The designs for her beaded curtains developed from the form of the arch and thinking of it as a coffin, a setting sun, a ghost, a church window, and moved conceptually from there. Rico wanted to work on the walls to create a collage and drawing that responds immediately to the environment. He made elements in his studio to bring to Los Angeles so he could assemble them all spontaneously into the finished piece on site. “Pac Man” became a metaphor for the back and forth dialog involved in creating the show, and then began to resonate with the current turn in the economy from consumption to conservation. We were inspired by ACP’s intimate, social and experimental venue, and found this to be a singular opportunity to respond to the larger political environment in a really personal way.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444079786711-EUONLCZOP82OZRZOEH2R/image-asset.jpeg
New Gallery - Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation dimensions variable)
Rico Gatson and Ellie Murphy "Pac Man" at ACP (Artist Curated Projects), Los Angeles 2009 Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images 5 beaded curtains, each 30 x 80 inches (Installation dimensions variable) We began to consider the gallery’s architecture as a starting point. Right away, Ellie wanted to elaborate on the arched doorways. The designs for her beaded curtains developed from the form of the arch and thinking of it as a coffin, a setting sun, a ghost, a church window, and moved conceptually from there. Rico wanted to work on the walls to create a collage and drawing that responds immediately to the environment. He made elements in his studio to bring to Los Angeles so he could assemble them all spontaneously into the finished piece on site. “Pac Man” became a metaphor for the back and forth dialog involved in creating the show, and then began to resonate with the current turn in the economy from consumption to conservation. We were inspired by ACP’s intimate, social and experimental venue, and found this to be a singular opportunity to respond to the larger political environment in a really personal way.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444079865081-FYGGRXSW1YJVFMN126RB/image-asset.jpeg
New Gallery - Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation detail)
Rico Gatson and Ellie Murphy "Pac Man" at ACP (Artist Curated Projects), Los Angeles 2009 Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images 5 beaded curtains, each 30 x 80 inches (Installation dimensions variable) We began to consider the gallery’s architecture as a starting point. Right away, Ellie wanted to elaborate on the arched doorways. The designs for her beaded curtains developed from the form of the arch and thinking of it as a coffin, a setting sun, a ghost, a church window, and moved conceptually from there. Rico wanted to work on the walls to create a collage and drawing that responds immediately to the environment. He made elements in his studio to bring to Los Angeles so he could assemble them all spontaneously into the finished piece on site. “Pac Man” became a metaphor for the back and forth dialog involved in creating the show, and then began to resonate with the current turn in the economy from consumption to conservation. We were inspired by ACP’s intimate, social and experimental venue, and found this to be a singular opportunity to respond to the larger political environment in a really personal way.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444079921440-0T9JA8NX66DS2IPWJI4U/image-asset.jpeg
New Gallery - Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation detail)
Rico Gatson and Ellie Murphy "Pac Man" at ACP (Artist Curated Projects), Los Angeles 2009 Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images 5 beaded curtains, each 30 x 80 inches (Installation dimensions variable) We began to consider the gallery’s architecture as a starting point. Right away, Ellie wanted to elaborate on the arched doorways. The designs for her beaded curtains developed from the form of the arch and thinking of it as a coffin, a setting sun, a ghost, a church window, and moved conceptually from there. Rico wanted to work on the walls to create a collage and drawing that responds immediately to the environment. He made elements in his studio to bring to Los Angeles so he could assemble them all spontaneously into the finished piece on site. “Pac Man” became a metaphor for the back and forth dialog involved in creating the show, and then began to resonate with the current turn in the economy from consumption to conservation. We were inspired by ACP’s intimate, social and experimental venue, and found this to be a singular opportunity to respond to the larger political environment in a really personal way.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444079984182-GKDK54VUN1W9W7A2479B/image-asset.jpeg
New Gallery - Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation detail)
Rico Gatson and Ellie Murphy "Pac Man" at ACP (Artist Curated Projects), Los Angeles 2009 Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images 5 beaded curtains, each 30 x 80 inches (Installation dimensions variable) We began to consider the gallery’s architecture as a starting point. Right away, Ellie wanted to elaborate on the arched doorways. The designs for her beaded curtains developed from the form of the arch and thinking of it as a coffin, a setting sun, a ghost, a church window, and moved conceptually from there. Rico wanted to work on the walls to create a collage and drawing that responds immediately to the environment. He made elements in his studio to bring to Los Angeles so he could assemble them all spontaneously into the finished piece on site. “Pac Man” became a metaphor for the back and forth dialog involved in creating the show, and then began to resonate with the current turn in the economy from consumption to conservation. We were inspired by ACP’s intimate, social and experimental venue, and found this to be a singular opportunity to respond to the larger political environment in a really personal way.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444080038429-RDCFK4GUYO73L39H7VTS/image-asset.jpeg
New Gallery - Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation detail)
Rico Gatson and Ellie Murphy "Pac Man" at ACP (Artist Curated Projects), Los Angeles 2009 Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images 5 beaded curtains, each 30 x 80 inches (Installation dimensions variable) We began to consider the gallery’s architecture as a starting point. Right away, Ellie wanted to elaborate on the arched doorways. The designs for her beaded curtains developed from the form of the arch and thinking of it as a coffin, a setting sun, a ghost, a church window, and moved conceptually from there. Rico wanted to work on the walls to create a collage and drawing that responds immediately to the environment. He made elements in his studio to bring to Los Angeles so he could assemble them all spontaneously into the finished piece on site. “Pac Man” became a metaphor for the back and forth dialog involved in creating the show, and then began to resonate with the current turn in the economy from consumption to conservation. We were inspired by ACP’s intimate, social and experimental venue, and found this to be a singular opportunity to respond to the larger political environment in a really personal way.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444080087297-WGVSW980VE2LXQ06MSYM/image-asset.jpeg
New Gallery - Rico Gatson and Ellie Murphy, Pac Man at ACP, 2009, Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images, 5 curtains, each 30 x 80" (Installation dimensions variable)
Rico Gatson and Ellie Murphy "Pac Man" at ACP (Artist Curated Projects), Los Angeles 2009 Beads, nylon, wood, hardware, Gaffers tape, paper, paint, pencil, glitter and images 5 beaded curtains, each 30 x 80 inches (Installation dimensions variable) We began to consider the gallery’s architecture as a starting point. Right away, Ellie wanted to elaborate on the arched doorways. The designs for her beaded curtains developed from the form of the arch and thinking of it as a coffin, a setting sun, a ghost, a church window, and moved conceptually from there. Rico wanted to work on the walls to create a collage and drawing that responds immediately to the environment. He made elements in his studio to bring to Los Angeles so he could assemble them all spontaneously into the finished piece on site. “Pac Man” became a metaphor for the back and forth dialog involved in creating the show, and then began to resonate with the current turn in the economy from consumption to conservation. We were inspired by ACP’s intimate, social and experimental venue, and found this to be a singular opportunity to respond to the larger political environment in a really personal way.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444080133225-A4QJ852L2WZH8Q02IQ3L/image-asset.jpeg
New Gallery - "Pac Man," 2009, Digital drawing, 17 x 11"
"Pac Man" 2009 Digital drawing, 17 x 11"
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New Gallery - Untitled (The Big "U"), 2009, Plastic beads, nylon, metal and wood, 6' x 8'
Untitled (The Big "U") 2009 Plastic beads, nylon, metal and wood 6' x 8'
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444232706834-GWULIC6DO7P2MF2YXGMO/image-asset.jpeg
New Gallery - Untitled (The Big "U"), 2009 Plastic beads, nylon, metal and wood, 6' x 8' (Detail)
Untitled (The Big "U") 2009 Plastic beads, nylon, metal and wood 6' x 8' (Detail)
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New Gallery - Untitled (Varsity), 2008, 10 Acrylic yarn tassels, 12" x 72" each (Installation)
Untitled (Varsity) 2008 10 Acrylic yarn tassels 12" x 72" each (Installation)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444233141816-6YCXO0RJZO4RWIP7L5BY/image-asset.jpeg
New Gallery - Untitled (Beaded Hairstyles 1), 2009, Digital drawing ink jet, 11 x 17"
Untitled (Beaded Hairstyles 1) 2009 Digital drawing ink jet 11 x 17"
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444233282658-MKHS2T1KCRFVRYJ6VYE2/image-asset.jpeg
New Gallery - Untitled (Beaded Hairstyles 2), 2009, Digital drawing ink jet, 11 x 17"
Untitled (Beaded Hairstyles 2) 2009 Digital drawing ink jet 11 x 17"
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444166322624-X7X7MZVD4NYL35OA1DEG/image-asset.jpeg
New Gallery - SQUASHblossom, 2007, Acrylic yarn, beads, tin foil, 5 x 6 x 7' (Installation)
SQUASHblossom 2007 Acrylic yarn, beads, tin foil 5 x 6 x 7 feet (Installation)
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New Gallery - SQUASHblossom, 2007, Acrylic yarn, beads, tin foil, 5 x 6 x 7 feet (Detail)
SQUASHblossom 2007 Acrylic yarn, beads, tin foil 5 x 6 x 7 feet (Detail)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444166769605-AAVINWRVBOQI1IOY6OCG/image-asset.jpeg
New Gallery - SQUASHblossom, 2007, Acrylic yarn, beads, tin foil, 5 x 6 x 7 feet (Detail)
SQUASHblossom 2007 Acrylic yarn, beads, tin foil 5 x 6 x 7 feet (Detail)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444166969170-WU4QDSWKTIOL34WP5PYU/image-asset.jpeg
New Gallery - SQUASHblossom, 2007, Acrylic yarn, beads, tin foil, 5 x 6 x 7 feet (Detail)
SQUASHblossom 2007 Acrylic yarn, beads, tin foil 5 x 6 x 7 feet (Detail)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444167162742-X4SDOSM9ODAEZ8F2XM16/image-asset.jpeg
New Gallery - SQUASHblossom, 2007, Acrylic yarn, beads, tin foil, 5 x 6 x 7 feet (Detail)
SQUASHblossom 2007 Acrylic yarn, beads, tin foil 5 x 6 x 7 feet (Detail)
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New Gallery - Strand organized by Rico Gatson and Ellie Murphy, 2007, Installation at NYCAMS, New York City
Strand organized by Rico Gatson and Ellie Murphy 2007 Installation at NYCAMS, New York City Strand is a show of artists who work in a similar vein. A shared affinity for the hard within the soft and the potency of material is explored. There is a poetic strength to the work which refers to both the physical environment and to a broader sense of social connectivity. The fact that all the work is in some way contingent upon its environment speaks to a desire not simply to transcend a mutual dependency, but to embrace it. Pieces hang from the ceiling, are embedded in the wall, piled upon the floor, wrapped around structure, or woven into armature. Strand, in this fashion, transcends the simple meaning of fiber, thread or linear form to evoke a sense both of connectedness and isolation.
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New Gallery - Strand organized by Rico Gatson and Ellie Murphy, 2007, Installation at NYCAMS, New York City
Strand organized by Rico Gatson and Ellie Murphy 2007 Installation at NYCAMS, New York City Strand is a show of artists who work in a similar vein. A shared affinity for the hard within the soft and the potency of material is explored. There is a poetic strength to the work which refers to both the physical environment and to a broader sense of social connectivity. The fact that all the work is in some way contingent upon its environment speaks to a desire not simply to transcend a mutual dependency, but to embrace it. Pieces hang from the ceiling, are embedded in the wall, piled upon the floor, wrapped around structure, or woven into armature. Strand, in this fashion, transcends the simple meaning of fiber, thread or linear form to evoke a sense both of connectedness and isolation.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444173922068-IO7YQ94XFQ08KA86IG83/image-asset.jpeg
New Gallery - Indian Corn, 2007, Acrylic yarn, clay, cork, fabric, bamboo and cans, 7 x 6 x 11' (Installation)
Indian Corn 2007 Acrylic yarn, clay, cork, fabric, bamboo and cans 7 x 6 x 11 feet (Installation)
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New Gallery - Indian Corn, 2007, Acrylic yarn, clay, cork, fabric, bamboo and cans, 7 x 6 x 11 feet (Detail)
Indian Corn 2007 Acrylic yarn, clay, cork, fabric, bamboo and cans 7 x 6 x 11 feet (Detail)
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New Gallery - Indian Corn 2007 Acrylic yarn, clay, cork, fabric, bamboo and cans 7 x 6 x 11 feet (Detail)
Indian Corn 2007 Acrylic yarn, clay, cork, fabric, bamboo and cans 7 x 6 x 11 feet (Detail)
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New Gallery - Intelligent Design, 2007, Guest organized by Rico Gatson and Ellie Murphy, Momenta Art Brooklyn, Installation view
Intelligent Design 2007 Guest organized by Rico Gatson and Ellie Murphy Momenta Art Brooklyn Installation view Momenta Art is pleased to present a group show organized by artists Rico Gatson and Ellie Murphy. Using system theory as a starting point to enter into emotional realms and states of mind, the artists in Intelligent Design use the abstraction inherent in "system" to approach a diversity of subjects–mathematical, scientific or technological systems; social systems that define gender and race; visual systems of pattern and craft; the cultural systems that create art and music, religion and history. Artists use system in their work to get at something vast and unsystematic, using sense to get to a place that does not make sense. Rosalind Krauss asserts in her essay "Grids" that the use of system makes it possible for artists to combine the sacred and secular without having to choose between them. But the work we have selected takes this combination to a new place. System here is freed by an increased technological and scientific sense of interconnectedness from the need to be either sacred, profane or both. It assumes the systematic task of existing (a task both physical and spiritual), as it purports to discover the collective hum it believes—it knows –is out there. The show has a taxonomy of emotion underlying it. The artists don't decide between intelligent design and the theory of evolution. They fix their belief in one system and all systems simultaneously. By definition, system describes both the individual elements and their interaction and functioning together as a whole. Gatson and Murphy are fascinated by artists taking the scientific, mathematical and technological to personal, emotional or spiritual regions. System in this sense brings together the abstract and the concrete. It is where the personal becomes the universal.
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New Gallery - Intelligent Design, 2007, Guest organized by Rico Gatson and Ellie Murphy, Momenta Art Brooklyn, Installation view
Intelligent Design 2007 Guest organized by Rico Gatson and Ellie Murphy Momenta Art Brooklyn Installation view Momenta Art is pleased to present a group show organized by artists Rico Gatson and Ellie Murphy. Using system theory as a starting point to enter into emotional realms and states of mind, the artists in Intelligent Design use the abstraction inherent in "system" to approach a diversity of subjects–mathematical, scientific or technological systems; social systems that define gender and race; visual systems of pattern and craft; the cultural systems that create art and music, religion and history. Artists use system in their work to get at something vast and unsystematic, using sense to get to a place that does not make sense. Rosalind Krauss asserts in her essay "Grids" that the use of system makes it possible for artists to combine the sacred and secular without having to choose between them. But the work we have selected takes this combination to a new place. System here is freed by an increased technological and scientific sense of interconnectedness from the need to be either sacred, profane or both. It assumes the systematic task of existing (a task both physical and spiritual), as it purports to discover the collective hum it believes—it knows –is out there. The show has a taxonomy of emotion underlying it. The artists don't decide between intelligent design and the theory of evolution. They fix their belief in one system and all systems simultaneously. By definition, system describes both the individual elements and their interaction and functioning together as a whole. Gatson and Murphy are fascinated by artists taking the scientific, mathematical and technological to personal, emotional or spiritual regions. System in this sense brings together the abstract and the concrete. It is where the personal becomes the universal.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444188141188-LYDPVZ0JF854N1QM9IA9/image-asset.jpeg
New Gallery - First Love, 2007, Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
First Love 2007 Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
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New Gallery - First Love (detail), 2007, Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
First Love (detail) 2007 Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
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New Gallery - First Love (detail), 2007, Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
First Love (detail) 2007 Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
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New Gallery - First Love (detail back), 2007, Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
First Love (detail back) 2007 Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
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New Gallery - First Love (Installation view at Shared Women LACE), 2007, Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
First Love (Installation view at Shared Women LACE, Los Angeles Contemporary Exhibitions) 2007 Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
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New Gallery - First Love (Installation at Shared Women LACE), 2007, Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
First Love (Installation at Shared Women LACE, os Angeles Contemporary Exhibitions) 2007 Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444188988664-1IXGMWIF8699PGOI2VS0/image-asset.jpeg
New Gallery - First Love (Installation at Shared Women LACE), 2007, Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
First Love (Installation at Shared Women LACE, os Angeles Contemporary Exhibitions) 2007 Glass, paper, tape, plexiglass, wood and fluorescent lights 41 cups with president, 41 saucers with first lady, 4 x 3 x 3'
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444237654354-IK8QM7R370EN208I1BF4/09-6_MurphyFIRSTlove300.jpg
New Gallery - First Love, 2000, Digital collage drawing (edition of 5), 18 x 24"
First Love 2000 Digital collage drawing (edition of 5) 18 x 24"
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New Gallery - Untitled (Tassels Drawing), 2005, Digital drawing ink jet on paper, 9 x 12"
Untitled (Tassels Drawing) 2005 Digital drawing ink jet on paper 9 x 12"
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New Gallery - Mandelbroot Sisters, 2006, Acrylic yarn, 5' x 6'
Mandelbroot Sisters 2006 Acrylic yarn 5' x 6'
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New Gallery - Mandelbroot Sisters, 2006, Acrylic yarn, 5' x 6' (Detail)
Mandelbroot Sisters 2006 Acrylic yarn 5' x 6' (Detail)
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New Gallery - Mandelbroot Sisters, 2006, Acrylic yarn, 5' x 6' (Detail)
Mandelbroot Sisters 2006 Acrylic yarn 5' x 6' (Detail)
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New Gallery - Tassels, 2006, Acrylic yarn and beads with nylon rope, 3 pieces each around 1.5' x 7'
Tassels 2006 Acrylic yarn and beads with nylon rope 3 pieces each around 1.5' x 7'
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New Gallery - Tassels, 2006, Acrylic yarn and beads with nylon rope, 3 pieces each around 1.5' x 7' (Detail)
Tassels 2006 Acrylic yarn and beads with nylon rope 3 pieces each around 1.5' x 7' (Detail)
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New Gallery - bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11' (Installation view)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library 2005 60 library books, paper, photo, yarn, tape and metal 7 x 4 x 11 feet (Installation dimensions variable) In June of 2005, I began to visit each of the 60 libraries of Brooklyn Public Library, starting with the DeKalb library, closest to my home. I took with me my partner, Simon, and our 4-year-old son Malcolm Edgar Heathcote. I continued to take Malcolm to each of the Brooklyn libraries, checking out a book, which I read, and recording our visit with a photograph of Malcolm. The resulting sculpture, created from these borrowed materials, is meant to map the personal experience of one individual in the context of the common cultural community—fusing the stories we share with the ones that are ours alone.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444229399650-FGMTVPGFL4S79VG5QIHP/image-asset.jpeg
New Gallery - bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11 feet (Detail)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library 2005 60 library books, paper, photo, yarn, tape and metal 7 x 4 x 11 feet (Detail) In June of 2005, I began to visit each of the 60 libraries of Brooklyn Public Library, starting with the DeKalb library, closest to my home. I took with me my partner, Simon, and our 4-year-old son Malcolm Edgar Heathcote. I continued to take Malcolm to each of the Brooklyn libraries, checking out a book, which I read, and recording our visit with a photograph of Malcolm. The resulting sculpture, created from these borrowed materials, is meant to map the personal experience of one individual in the context of the common cultural community—fusing the stories we share with the ones that are ours alone.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444232333061-S47GPB8E1GI6TCYDKDR3/image-asset.jpeg
New Gallery - bioGRAPHY, 2007, Ink jet on matte photo paper and vellum, 60 photos and 60 pieces of writing (Dimensions variable installed at Grassmacks Gallery Minnesota)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library 2007 Ink jet on matte photo paper and vellum 60 photos and 60 pieces of writing (Dimensions variable installed at Grassmacks Gallery Minnesota) In June of 2005, I began to visit each of the 60 libraries of Brooklyn Public Library, starting with the DeKalb library, closest to my home. I took with me my partner, Simon, and our 4-year-old son Malcolm Edgar Heathcote. I continued to take Malcolm to each of the Brooklyn libraries, checking out a book, which I read, and recording our visit with a photograph of Malcolm. The resulting sculpture, created from these borrowed materials, is meant to map the personal experience of one individual in the context of the common cultural community—fusing the stories we share with the ones that are ours alone. I reinstalled the documentation here in the Grassmacks Gallery space in St. Paul, Minnesota.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444231939198-EVMKTMATLJTMSXS5HDJA/image-asset.jpeg
New Gallery - bioGRAPHY, 2007, Ink jet on matte photo paper and vellum, 60 photos and 60 pieces of writing, (Dimensions variable installed at Grassmacks Gallery Minnesota)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library 2007 Ink jet on matte photo paper and vellum 60 photos and 60 pieces of writing (Dimensions variable installed at Grassmacks Gallery Minnesota) In June of 2005, I began to visit each of the 60 libraries of Brooklyn Public Library, starting with the DeKalb library, closest to my home. I took with me my partner, Simon, and our 4-year-old son Malcolm Edgar Heathcote. I continued to take Malcolm to each of the Brooklyn libraries, checking out a book, which I read, and recording our visit with a photograph of Malcolm. The resulting sculpture, created from these borrowed materials, is meant to map the personal experience of one individual in the context of the common cultural community—fusing the stories we share with the ones that are ours alone. I reinstalled the documentation here in the Grassmacks Gallery space in St. Paul, Minnesota.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444232256187-CHUTH292M35HPWM3O1TK/image-asset.jpeg
New Gallery - bioGRAPHY, 2007, Ink jet on matte photo paper and vellum, 60 photos and 60 pieces of writing (Dimensions variable installed at Grassmacks Gallery Minnesota)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library 2007 Ink jet on matte photo paper and vellum 60 photos and 60 pieces of writing (Dimensions variable installed at Grassmacks Gallery Minnesota) In June of 2005, I began to visit each of the 60 libraries of Brooklyn Public Library, starting with the DeKalb library, closest to my home. I took with me my partner, Simon, and our 4-year-old son Malcolm Edgar Heathcote. I continued to take Malcolm to each of the Brooklyn libraries, checking out a book, which I read, and recording our visit with a photograph of Malcolm. The resulting sculpture, created from these borrowed materials, is meant to map the personal experience of one individual in the context of the common cultural community—fusing the stories we share with the ones that are ours alone. I reinstalled the documentation here in the Grassmacks Gallery space in St. Paul, Minnesota.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444229767748-7ITLDRN26DJD5Y3LT51K/image-asset.jpeg
New Gallery - bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11' (Detail)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library 2005 60 library books, paper, photo, yarn, tape and metal 7 x 4 x 11 feet (Detail) In June of 2005, I began to visit each of the 60 libraries of Brooklyn Public Library, starting with the DeKalb library, closest to my home. I took with me my partner, Simon, and our 4-year-old son Malcolm Edgar Heathcote. I continued to take Malcolm to each of the Brooklyn libraries, checking out a book, which I read, and recording our visit with a photograph of Malcolm. The resulting sculpture, created from these borrowed materials, is meant to map the personal experience of one individual in the context of the common cultural community—fusing the stories we share with the ones that are ours alone.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444231166970-AZ8474Y0LUMT6BTYRGXU/image-asset.jpeg
New Gallery - bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11' (Installation)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library 2005 60 library books, paper, photo, yarn, tape and metal 7 x 4 x 11 feet (Installation) In June of 2005, I began to visit each of the 60 libraries of Brooklyn Public Library, starting with the DeKalb library, closest to my home. I took with me my partner, Simon, and our 4-year-old son Malcolm Edgar Heathcote. I continued to take Malcolm to each of the Brooklyn libraries, checking out a book, which I read, and recording our visit with a photograph of Malcolm. The resulting sculpture, created from these borrowed materials, is meant to map the personal experience of one individual in the context of the common cultural community—fusing the stories we share with the ones that are ours alone.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444230451467-PYVLYKK9V9M4NZFECFPF/image-asset.jpeg
New Gallery - bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11' (Detail)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library 2005 60 library books, paper, photo, yarn, tape and metal 7 x 4 x 11 feet (Detail) In June of 2005, I began to visit each of the 60 libraries of Brooklyn Public Library, starting with the DeKalb library, closest to my home. I took with me my partner, Simon, and our 4-year-old son Malcolm Edgar Heathcote. I continued to take Malcolm to each of the Brooklyn libraries, checking out a book, which I read, and recording our visit with a photograph of Malcolm. The resulting sculpture, created from these borrowed materials, is meant to map the personal experience of one individual in the context of the common cultural community—fusing the stories we share with the ones that are ours alone.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444230547747-80X0IB1A7ZVKQTGLUGXE/image-asset.jpeg
New Gallery - bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11' (Detail)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library 2005 60 library books, paper, photo, yarn, tape and metal 7 x 4 x 11 feet (Detail) In June of 2005, I began to visit each of the 60 libraries of Brooklyn Public Library, starting with the DeKalb library, closest to my home. I took with me my partner, Simon, and our 4-year-old son Malcolm Edgar Heathcote. I continued to take Malcolm to each of the Brooklyn libraries, checking out a book, which I read, and recording our visit with a photograph of Malcolm. The resulting sculpture, created from these borrowed materials, is meant to map the personal experience of one individual in the context of the common cultural community—fusing the stories we share with the ones that are ours alone.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444230990163-U48XH5E3DIDQASQTLB0V/image-asset.jpeg
New Gallery - bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11' (Detail)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library 2005 60 library books, paper, photo, yarn, tape and metal 7 x 4 x 11 feet (Detail) In June of 2005, I began to visit each of the 60 libraries of Brooklyn Public Library, starting with the DeKalb library, closest to my home. I took with me my partner, Simon, and our 4-year-old son Malcolm Edgar Heathcote. I continued to take Malcolm to each of the Brooklyn libraries, checking out a book, which I read, and recording our visit with a photograph of Malcolm. The resulting sculpture, created from these borrowed materials, is meant to map the personal experience of one individual in the context of the common cultural community—fusing the stories we share with the ones that are ours alone.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444240399499-Z5FC2AZLKHDPB5XZ4TBQ/image-asset.jpeg
New Gallery - bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, 60 library books, paper, photo, yarn, tape and metal, 7 x 4 x 11' (Work in progress in studio)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library 2005 60 library books, paper, photo, yarn, tape and metal 7 x 4 x 11 feet (Work in progress in studio) In June of 2005, I began to visit each of the 60 libraries of Brooklyn Public Library, starting with the DeKalb library, closest to my home. I took with me my partner, Simon, and our 4-year-old son Malcolm Edgar Heathcote. I continued to take Malcolm to each of the Brooklyn libraries, checking out a book, which I read, and recording our visit with a photograph of Malcolm. The resulting sculpture, created from these borrowed materials, is meant to map the personal experience of one individual in the context of the common cultural community—fusing the stories we share with the ones that are ours alone.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444231481012-QV93L0DU1DZGNR918DPE/image-asset.jpeg
New Gallery - bioGRAPHY: A Site Specific Project for the Brooklyn Public Library, 2005, Mounted digital photographic drawing, 36 x 30" (edition of 5)
bioGRAPHY: A Site Specific Project for the Brooklyn Public Library 2005 Mounted digital photographic drawing 36 x 30" (edition of 5) In June of 2005, I began to visit each of the 60 libraries of Brooklyn Public Library, starting with the DeKalb library, closest to my home. I took with me my partner, Simon, and our 4-year-old son Malcolm Edgar Heathcote. I continued to take Malcolm to each of the Brooklyn libraries, checking out a book, which I read, and recording our visit with a photograph of Malcolm. The resulting sculpture, created from these borrowed materials, is meant to map the personal experience of one individual in the context of the common cultural community—fusing the stories we share with the ones that are ours alone.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444242986216-FG1BXRASZKYNWAWZS4TF/image-asset.jpeg
New Gallery - River Abacus, 2004, Fiberglass, nylon, plastic beads and cement, 16 x 20' (Installation outdoors, dimensions variable)
River Abacus 2004 Fiberglass, nylon, plastic beads and cement 16 x 20 feet (Installation outdoors, dimensions variable) The ten different colored strands of beads represent the ten longest rivers in the United States: the Missouri, Mississippi, Yukon, St. Lawrence, Rio Grande, Arkansas, Colorado, Ohio, Columbia, and the Red. They are exact scale models, with each bead representing a mile of a river's length. This piece and its creation produce antiphonal narratives: one about the human-scale sculpture, formed by an individual stringing individual beads, one by one, and the other, concerning the flowing expanse of great rivers, mile after mile, shared by many, controlled by none. The site, presents a third narrative strain, tending to amplify and resolve some of the same material.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444243129292-IVPURV7SD8WQVNAMAJT6/image-asset.jpeg
New Gallery - River Abacus, 2004, Fiberglass, nylon, plastic beads and cement, 16 x 20' (Installation outdoors, dimensions variable)
River Abacus 2004 Fiberglass, nylon, plastic beads and cement 16 x 20 feet (Installation outdoors, dimensions variable) The ten different colored strands of beads represent the ten longest rivers in the United States: the Missouri, Mississippi, Yukon, St. Lawrence, Rio Grande, Arkansas, Colorado, Ohio, Columbia, and the Red. They are exact scale models, with each bead representing a mile of a river's length. This piece and its creation produce antiphonal narratives: one about the human-scale sculpture, formed by an individual stringing individual beads, one by one, and the other, concerning the flowing expanse of great rivers, mile after mile, shared by many, controlled by none. The site, presents a third narrative strain, tending to amplify and resolve some of the same material.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444243264059-0TIFZGA9O3B9UXPESJO4/image-asset.jpeg
New Gallery - River Abacus, 2004, Fiberglass, nylon, plastic beads and cement, 16 x 20' (Detail)
River Abacus 2004 Fiberglass, nylon, plastic beads and cement 16 x 20 feet (Detail) The ten different colored strands of beads represent the ten longest rivers in the United States: the Missouri, Mississippi, Yukon, St. Lawrence, Rio Grande, Arkansas, Colorado, Ohio, Columbia, and the Red. They are exact scale models, with each bead representing a mile of a river's length. This piece and its creation produce antiphonal narratives: one about the human-scale sculpture, formed by an individual stringing individual beads, one by one, and the other, concerning the flowing expanse of great rivers, mile after mile, shared by many, controlled by none. The site, presents a third narrative strain, tending to amplify and resolve some of the same material.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444243346049-BUET8IM67V6QXZDP32IS/image-asset.jpeg
New Gallery - River Abacus, 2004, Fiberglass, nylon, plastic beads and cement, 16 x 20' (Detail)
River Abacus 2004 Fiberglass, nylon, plastic beads and cement 16 x 20 feet (Detail) The ten different colored strands of beads represent the ten longest rivers in the United States: the Missouri, Mississippi, Yukon, St. Lawrence, Rio Grande, Arkansas, Colorado, Ohio, Columbia, and the Red. They are exact scale models, with each bead representing a mile of a river's length. This piece and its creation produce antiphonal narratives: one about the human-scale sculpture, formed by an individual stringing individual beads, one by one, and the other, concerning the flowing expanse of great rivers, mile after mile, shared by many, controlled by none. The site, presents a third narrative strain, tending to amplify and resolve some of the same material.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444243416581-E3MBYVWLQEECHT8MPDTG/image-asset.jpeg
New Gallery - River Abacus, 2004, Fiberglass, nylon, plastic beads and cement, 16 x 20' (Detail)
River Abacus 2004 Fiberglass, nylon, plastic beads and cement 16 x 20 feet (Detail) The ten different colored strands of beads represent the ten longest rivers in the United States: the Missouri, Mississippi, Yukon, St. Lawrence, Rio Grande, Arkansas, Colorado, Ohio, Columbia, and the Red. They are exact scale models, with each bead representing a mile of a river's length. This piece and its creation produce antiphonal narratives: one about the human-scale sculpture, formed by an individual stringing individual beads, one by one, and the other, concerning the flowing expanse of great rivers, mile after mile, shared by many, controlled by none. The site, presents a third narrative strain, tending to amplify and resolve some of the same material.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444243481122-LEJXBHWETR0T3LNI7GJ5/image-asset.jpeg
New Gallery - River Abacus, 2004, Fiberglass, nylon, plastic beads and cement, 16 x 20' (Installation)
River Abacus 2004 Fiberglass, nylon, plastic beads and cement 16 x 20 feet (Installation) The ten different colored strands of beads represent the ten longest rivers in the United States: the Missouri, Mississippi, Yukon, St. Lawrence, Rio Grande, Arkansas, Colorado, Ohio, Columbia, and the Red. They are exact scale models, with each bead representing a mile of a river's length. This piece and its creation produce antiphonal narratives: one about the human-scale sculpture, formed by an individual stringing individual beads, one by one, and the other, concerning the flowing expanse of great rivers, mile after mile, shared by many, controlled by none. The site, presents a third narrative strain, tending to amplify and resolve some of the same material.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444245849555-MHRIXZWTUQ2ZDD19RXDT/image-asset.jpeg
New Gallery - Gene Pairs ... With Ellipses, 2003, Plastic pony beads and nylon string, 35 x 25' (Installed at the Bureau of Criminal Investigation in Minneapolis, MN)
Gene Pairs ... With Ellipses 2003 Plastic pony beads and nylon string 35 x 25 feet (Installed at the Bureau of Criminal Investigation Building in Minneapolis, Minnesota) Gene Pairs ...With Ellipses consists of 23 pairs of suspended bead strands representing each chromosome in the human genome. Proteins of the first 1,000 base pairs of DNA on each chromosome are strung in opaque beads, while proteins of the final 1,000 base pairs in translucent ones. Green signifies the protein Adenine; blue, Cytosine; yellow, Guanine; and red, Thymine. The strands hang in numerical order, beginning at the top of the stairs with Chromosome 1 and continuing through Chromosome 22 toward the doorway. The final pair of bead strands represent the sex chromosome, with the beginning taken from Chromosome Y and the end taken from Chromosome X. By passing beneath the sculpture and through this map of the genome, viewers supply the missing central parts of the sequence or unrepresented segments of DNA code--the conceptual ellipses--via their own unique genetic material, interposed between the known beginning and end points of life.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444246111315-TV6R6N5FVVKADHUHOFMG/image-asset.jpeg
New Gallery - Gene Pairs ... With Ellipses, 2003, Plastic pony beads and nylon string, 35 x 25' (Installed at the Bureau of Criminal Investigation, Minneapolis, MN)
Gene Pairs ... With Ellipses 2003 Plastic pony beads and nylon string 35 x 25 feet (Installed at the Bureau of Criminal Investigation Building in Minneapolis, Minnesota) Gene Pairs ...With Ellipses consists of 23 pairs of suspended bead strands representing each chromosome in the human genome. Proteins of the first 1,000 base pairs of DNA on each chromosome are strung in opaque beads, while proteins of the final 1,000 base pairs in translucent ones. Green signifies the protein Adenine; blue, Cytosine; yellow, Guanine; and red, Thymine. The strands hang in numerical order, beginning at the top of the stairs with Chromosome 1 and continuing through Chromosome 22 toward the doorway. The final pair of bead strands represent the sex chromosome, with the beginning taken from Chromosome Y and the end taken from Chromosome X. By passing beneath the sculpture and through this map of the genome, viewers supply the missing central parts of the sequence or unrepresented segments of DNA code--the conceptual ellipses--via their own unique genetic material, interposed between the known beginning and end points of life.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444246256062-UGB7AIYHZPI31M17Z5JM/image-asset.jpeg
New Gallery - Gene Pairs ... With Ellipses, 2003, Plastic pony beads and nylon string, 35 x 25' (Installed at the Bureau of Criminal Investigation, Minneapolis, MN)
Gene Pairs ... With Ellipses 2003 Plastic pony beads and nylon string 35 x 25 feet (Installed at the Bureau of Criminal Investigation Building in Minneapolis, Minnesota) Gene Pairs ...With Ellipses consists of 23 pairs of suspended bead strands representing each chromosome in the human genome. Proteins of the first 1,000 base pairs of DNA on each chromosome are strung in opaque beads, while proteins of the final 1,000 base pairs in translucent ones. Green signifies the protein Adenine; blue, Cytosine; yellow, Guanine; and red, Thymine. The strands hang in numerical order, beginning at the top of the stairs with Chromosome 1 and continuing through Chromosome 22 toward the doorway. The final pair of bead strands represent the sex chromosome, with the beginning taken from Chromosome Y and the end taken from Chromosome X. By passing beneath the sculpture and through this map of the genome, viewers supply the missing central parts of the sequence or unrepresented segments of DNA code--the conceptual ellipses--via their own unique genetic material, interposed between the known beginning and end points of life.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444246373247-DGLFVP86GYTSAWMAAZWY/image-asset.jpeg
New Gallery - Gene Pairs ... With Ellipses, 2003, Plastic pony beads and nylon string, 35 x 25' (Detail)
Gene Pairs ... With Ellipses 2003 Plastic pony beads and nylon string 35 x 25 feet (Installed at the Bureau of Criminal Investigation Building in Minneapolis, Minnesota) Gene Pairs ...With Ellipses consists of 23 pairs of suspended bead strands representing each chromosome in the human genome. Proteins of the first 1,000 base pairs of DNA on each chromosome are strung in opaque beads, while proteins of the final 1,000 base pairs in translucent ones. Green signifies the protein Adenine; blue, Cytosine; yellow, Guanine; and red, Thymine. The strands hang in numerical order, beginning at the top of the stairs with Chromosome 1 and continuing through Chromosome 22 toward the doorway. The final pair of bead strands represent the sex chromosome, with the beginning taken from Chromosome Y and the end taken from Chromosome X. By passing beneath the sculpture and through this map of the genome, viewers supply the missing central parts of the sequence or unrepresented segments of DNA code--the conceptual ellipses--via their own unique genetic material, interposed between the known beginning and end points of life.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444246789258-8DB47ROB0TUI0JGGKYU7/image-asset.jpeg
New Gallery - Gene Pairs ... With Ellipses, 2003, Plastic pony beads and nylon string, 35 x 25' (Detail)
Gene Pairs ... With Ellipses 2003 Plastic pony beads and nylon string 35 x 25 feet (Installed at the Bureau of Criminal Investigation Building in Minneapolis, Minnesota) Gene Pairs ...With Ellipses consists of 23 pairs of suspended bead strands representing each chromosome in the human genome. Proteins of the first 1,000 base pairs of DNA on each chromosome are strung in opaque beads, while proteins of the final 1,000 base pairs in translucent ones. Green signifies the protein Adenine; blue, Cytosine; yellow, Guanine; and red, Thymine. The strands hang in numerical order, beginning at the top of the stairs with Chromosome 1 and continuing through Chromosome 22 toward the doorway. The final pair of bead strands represent the sex chromosome, with the beginning taken from Chromosome Y and the end taken from Chromosome X. By passing beneath the sculpture and through this map of the genome, viewers supply the missing central parts of the sequence or unrepresented segments of DNA code--the conceptual ellipses--via their own unique genetic material, interposed between the known beginning and end points of life.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444245389367-VV4X48NGTWSKZBBUZ8KQ/image-asset.jpeg
New Gallery - Gene Pairs ... With Ellipses, 2002, Plastic pony beads, nylon string, wood, metal, vinyl and cement, 35 x 25' (Franconia Sculpture Park)
Gene Pairs ... With Ellipses 2002 Plastic pony beads, nylon string, wood, metal, vinyl and cement 35 x 25 feet (Installation at Franconia Sculpture Park) Gene Pairs ...With Ellipses consists of 23 pairs of suspended bead strands representing each chromosome in the human genome. Proteins of the first 1,000 base pairs of DNA on each chromosome are strung in opaque beads, while proteins of the final 1,000 base pairs in translucent ones. Green signifies the protein Adenine; blue, Cytosine; yellow, Guanine; and red, Thymine. The strands hang in numerical order, beginning with Chromosome 1 and continuing through Chromosome 22. The final pair of bead strands represent the sex chromosome, with the beginning taken from Chromosome Y and the end taken from Chromosome X. By passing through this map of the genome, viewers supply the missing central parts of the sequence or unrepresented segments of DNA code--the conceptual ellipses--via their own unique genetic material, interposed between the known beginning and end points of life.
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444239900938-RBF4T6JCIS8W8B5EWEN1/image-asset.jpeg
New Gallery - "In the beginning was the Word..." (Binary Triptych), 2001, Clay, metal and wood, 1 1/2 x 6 feet, 1 1/2 x 7 feet, 1 1/2 x 8 feet
"In the beginning was the Word..." (Binary Triptych) 2001 Clay, metal and wood 1 1/2 x 6 feet, 1 1/2 x 7 feet, 1 1/2 x 8 feet
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444240146827-6FTSFPJVUTY2XE26ARPE/image-asset.jpeg
New Gallery - "In the beginning was the Word..." (Binary Triptych), 2001, Clay, metal and wood, 1 1/2 x 6 feet, 1 1/2 x 7 feet, 1 1/2 x 8 feet (Detail)
"In the beginning was the Word..." (Binary Triptych) 2001 Clay, metal and wood 1 1/2 x 6 feet, 1 1/2 x 7 feet, 1 1/2 x 8 feet (Detail)
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444240202468-EC9BOTP9BIDR5UXZ5JIL/image-asset.jpeg
New Gallery - "In the beginning was the Word..." (Binary Triptych), 2001, Clay, metal and wood, 1 1/2 x 6 feet, 1 1/2 x 7 feet, 1 1/2 x 8 feet
"In the beginning was the Word..." (Binary Triptych) 2001 Clay, metal and wood 1 1/2 x 6 feet, 1 1/2 x 7 feet, 1 1/2 x 8 feet
https://images.squarespace-cdn.com/content/v1/52385cbfe4b01ff45bd40950/1444240078314-KOGTF9VP6AG2ES8X2X4F/image-asset.jpeg
New Gallery - "In the beginning was the Word..." (Binary Triptych), 2001, Clay, metal and wood, 1 1/2 x 6 feet, 1 1/2 x 7 feet, 1 1/2 x 8 feet (Detail)
"In the beginning was the Word..." (Binary Triptych) 2001 Clay, metal and wood 1 1/2 x 6 feet, 1 1/2 x 7 feet, 1 1/2 x 8 feet (Detail)
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