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Eliot Markell
Brooklyn, NY
Neighborhood: Bushwick



ARTIST STATEMENT: Artist Statement My art improvises on fundamental properties of nature; by embracing the landscape and delving into scientific inquiry. My work about conventional time/space encompasses scenes of semi-abstracted landscape, while my “energy” paintings extend into visceral, yet metaphorical realms inspired by concepts such as the multi-dimensional vibrations of string theory. The fruition of the Beach Rope & Driftwood sculpture pieces result not only from shorefront strolls on rocky beaches in Maine (the best selection of rope due to myriad lobster trap gear), the North Fork, Montauk and the Dominican Republic, but from a desire to branch out (excuse the pun) from painting. It dawned on me that the multi-hued tangles of knotted beach rope could be cleaned, sorted and applied to driftwood in a congruent manner. The laborious process of wrapping, gluing and stapling satisfy a fundamental urge to physically assemble a combination of man-made and natural detritus. The variety of beach rope’s weathered palette, layered onto lengths of driftwood compliment my painted images chromatically, and refer to African and outsider sources. These rough hewn sculptures suggest an implicit virility rooted in figurative association. My panel paintings incorporate a stencil technique wherein I apply masking tape to the surface of the panel and carve out forms that I paint into or around. I frequently use palette knives to spread paint out into a transparent film to work into or over the stenciled surface. These stenciled “inlays” combine with my freehand painterly style to create a playful compositional dichotomy. My paintings are completely interpretative. I employ unencumbered, abstract gestures intuited from quantum theory and cosmological phenomenon. These paintings also incorporate an esoteric approach to the depiction of an elastic pulsation inherent in my art. The strong physical presence in my painting belies a subtle notion of sub-visual suggestion; that upon a lingering gaze form and color mutate, to unveil underlying properties. This transcendent quality could be described as a “spiritual” concept, but I strive for an open-ended, empirical secularism in my art that has lead to free thinking and the expansive exploration of my full creative potential. The landscape has endured in my oeuvre largely through my watercolor and oil pastel works on paper and panel. Done mostly in and around Acadia National Park in Maine, these pieces are immersed in the immediacy of atmospheric effect, the oceanic tableau, and rugged rocky coastline. This intimacy with nature has invigorated and informed my studio oil paintings. Although the plein air works tend to be more traditionally representational, the paintings more muscular picture plane distill the representation of nature into an elemental yet ethereal montage. Eliot Markell 1818 Newkirk Ave 3T Brooklyn NY 11226 eliotcm@verizon.net c 917 674 4382 h 718 421 1544 eliotmarkell.arloartists.com
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  • Trophy #1
    2013
    Beach rope, bait bags, monofilament, plaster, & tissue paper, on driftwood & corner bead armature.
    Although ”quirky” may best describe the character of these assemblages, I find their playfully robust nature to be of significant relevance. Quasi-figurative totems celebrating a beach

  • Trophy #1
    2013
    Beach rope, bait bags, monofilament, plaster, & tissue paper, on driftwood & corner bead armature.
    Although ”quirky” may best describe the character of these assemblages, I find their playfully robust nature to be of significant relevance. Quasi-figurative totems celebrating a beach

  • Big Medicine #1
    2013
    Plaster, wax, salvaged beach rope & lobster trap brackets, driftwood, tissue paper pigment on corner bead armature.
    36" x 15" x 7"

  • Big Medicine #3
    2013
    Plaster, salvaged beach rope & lobster trap bracket, foam buoy, tissue paper pigment on corner bead armature.
    18"x9"x8"

  • Big Medicine #2
    2013
    Plaster, wax, salvaged beach rope & lobster trap brackets, driftwood, tissue paper pigment on corner bead armature.
    34" x 6" x 8"

  • Urchin
    2013
    Plaster, bait bags, driftwood, tissue paper, beach rope
    Although ”quirky” may best describe the character of these assemblages, I find their playfully robust nature to be of significant relevance. Quasi-figurative totems celebrating a beach

  • Bumpkin
    2013
    Plaster, bait bags, driftwood, tissue paper, beach rope, burlap
    Although ”quirky” may best describe the character of these assemblages, I find their playfully robust nature to be of significant relevance. Quasi-figurative totems celebrating a beach

  • Rugged Shoreline
    2013
    oil on panel
    12"x22.5"
    The landscape has endured in my oeuvre largely through my watercolor and oil pastel works on paper. Done mostly in and around the Schoodic Peninsula, part of Acadia National Park in Maine, these piece

  • Pastoral Scene
    2013
    watercolor, gouache, crayon, felt tip pen, tissue paper, and plaster on panel.
    12" x 12"

  • Midtown
    2013
    watercolor, gouache, crayon, felt tip pen, tissue paper, and plaster on panel.
    12" x 12"

  • Lovely Crowd
    2013
    oil on canvas, mounted on panel.
    30" x 24"

  • Illuminated Pine Grove
    2013
    oil on panel
    16"x20"

  • On Shore #1
    2013
    oil on panel.
    12"x12"

  • On Shore #2
    2013
    oil on panel.
    12"x12"

  • Shifting Fog
    2013
    Oil on panel
    Chroma and atmosphere saturate my painting, imbuing the picture plane with an expansive spatial perspective, yet densely textured surface. Loose pigment is coupled with tightly drafted, curvilinear

  • Not The Foggiest
    2013
    Oil on panel
    Chroma and atmosphere saturate my painting, imbuing the picture plane with an expansive spatial perspective, yet densely textured surface. Loose pigment is coupled with tightly drafted, curvilinear ed

  • Vibe Report
    2013
    watercolor, gouache, crayon, felt tip pen, tissue paper, and plaster on panel
    15" x 20"
    .

  • Study For Imaginary Sculpture #1
    2013
    watercolor, gouache, felt tip pen, water soluble crayon, water soluble pencil, and tissue paper on watercolor paper.
    15" x 11"

  • Study For Imaginary Sculpture #4
    2013
    watercolor, gouache, felt tip pen, water soluble crayon, water soluble pencil, and tissue paper on watercolor paper.
    15" x 11"

  • Study For Imaginary Sculpture #2
    2013
    watercolor, gouache, felt tip pen, water soluble crayon, water soluble pencil, and tissue paper on watercolor paper.
    15" x 11"

  • Study For Imaginary Sculpture #3
    2013
    watercolor, gouache, felt tip pen, water soluble crayon, water soluble pencil, and tissue paper on watercolor paper.
    15" x 11"

  • Study For Imaginary Sculpture #5
    2013
    gouache, felt tip pen, water soluble crayon, water soluble pencil, and tissue paper on watercolor paper.
    15" x 11"

  • Trophy #2
    2013
    Beach rope, bait bags, monofilament, plaster, & tissue paper, on driftwood & corner bead armature.
    Although ”quirky” may best describe the character of these assemblages, I find their playfully robust nature to be of significant relevance. Quasi-figurative totems celebrating a beach

  • Trophy #3
    2013
    Beach rope, bait bags, plaster, & tissue paper, on driftwood & corner bead armature.
    Although ”quirky” may best describe the character of these assemblages, I find their playfully robust nature to be of significant relevance. Quasi-figurative totems celebrating a beach

  • Cherub
    2013
    Plaster, bait bags, driftwood, tissue paper, beach rope, burlap
    Although ”quirky” may best describe the character of these assemblages, I find their playfully robust nature to be of significant relevance. Quasi-figurative totems celebrating a beach

  • Trophy #4
    2013
    Beach rope, bait bags, plaster, cotton batting & tissue paper, on panel
    Although ”quirky” may best describe the character of these assemblages, I find their playfully robust nature to be of significant relevance. Quasi-figurative totems celebrating a bea

  • Rosebud
    2012
    Salvaged beach rope & glass, salvaged lobster trap brackets, driftwood, tissue paper, carved marmoleum
    Although ”quirky” may best describe the character of these assemblages, I find their playfully robust nature to be of significant relevance. Quasi-figurative totems celebrating a beach

  • Gone Haywire
    2012
    Salvaged beach rope & glass, salvaged lobster trap brackets, driftwood, tissue paper, carved marmoleum.
    Although ”quirky” may best describe the character of these assemblages, I find their playfully robust nature to be of significant relevance. Quasi-figurative totems celebrating a bea

  • Mascot
    2013
    Plaster, foam buoy, bait bags, driftwood, tissue paper, beach rope.
    Although ”quirky” may best describe the character of these assemblages, I find their playfully robust nature to be of significant relevance. Quasi-figurative totems celebrating a bea

  • Top Heavy
    2013
    Plaster, bait bags, driftwood, tissue paper, beach rope.
    Although ”quirky” may best describe the character of these assemblages, I find their playfully robust nature to be of significant relevance. Quasi-figurative totems celebrating a beac

  • ‘shroom
    2013
    Plaster, bait bags, driftwood, tissue paper, beach glass.
    Although ”quirky” may best describe the character of these assemblages, I find their playfully robust nature to be of significant relevance. Quasi-figurative totems celebrating a beach

  • Fishnet
    2012
    Salvaged bait bag & beach rope, driftwood, tissue paper, oil paint, carved marmoleum.
    Although ”quirky” may best describe the character of these assemblages, I find their playfully robust nature to be of significant relevance. Quasi-figurative totems celebrating a beach

  • Gift Wrapped
    2012
    Metallic tissue paper, driftwood, oil paint, carved marmoleum.
    Although ”quirky” may best describe the character of these assemblages, I find their playfully robust nature to be of significant relevance. Quasi-figurative totems celebrating a beach

  • Freak Show #6 (bone)
    2010
    Oil paint on wallboard compound, beach rope & driftwood
    Although ”quirky” may best describe the character of these assemblages, I find their playfully robust nature to be of significant relevance. Quasi-figurative totems celebrating a beach

  • Flye Point #3
    2013
    Watercolor & water soluble media on paper.
    The landscape has endured in my oeuvre largely through my watercolor and oil pastel works on paper. Done mostly in and around the Schoodic Peninsula, part of Acadia National Park in Maine, these piece

  • Flye Point #1
    2013
    Watercolor & water soluble media on paper.
    The landscape has endured in my oeuvre largely through my watercolor and oil pastel works on paper. Done mostly in and around the Schoodic Peninsula, part of Acadia National Park in Maine, these piece

  • Flye Point (abstract)
    2013
    Watercolor & water soluble media on paper.
    The landscape has endured in my oeuvre largely through my watercolor and oil pastel works on paper. Done mostly in and around the Schoodic Peninsula, part of Acadia National Park in Maine, these piece

  • Schoodic Fog Bank
    2013
    Watercolor & water soluble media on paper.
    The landscape has endured in my oeuvre largely through my watercolor and oil pastel works on paper. Done mostly in and around the Schoodic Peninsula, part of Acadia National Park in Maine, these piece

  • Schoodic West '13
    2013
    Watercolor & water soluble media on paper.
    The landscape has endured in my oeuvre largely through my watercolor and oil pastel works on paper. Done mostly in and around the Schoodic Peninsula, part of Acadia National Park in Maine, these piece

  • Flye Point #2
    2013
    Watercolor, water soluble media & oil pastel on paper.
    The landscape has endured in my oeuvre largely through my watercolor and oil pastel works on paper. Done mostly in and around the Schoodic Peninsula, part of Acadia National Park in Maine, these piece

  • Imagined View
    2013
    Oil on panel

  • Conjured Fog
    2013
    Oil on panel

  • Fog Variations #1
    2012
    Watercolor & water soluble crayon on paper.
    The landscape has endured in my oeuvre largely through my watercolor and oil pastel works on paper. Done mostly in and around the Schoodic Peninsula, part of Acadia National Park in Maine, these piece

  • Fog Variations #3
    2012
    Watercolor & water soluble crayon on paper.
    The landscape has endured in my oeuvre largely through my watercolor and oil pastel works on paper. Done mostly in and around the Schoodic Peninsula, part of Acadia National Park in Maine, these piece

  • Fog Variations #4
    2012,
    Watercolor & water soluble crayon on paper.
    The landscape has endured in my oeuvre largely through my watercolor and oil pastel works on paper. Done mostly in and around the Schoodic Peninsula, part of Acadia National Park in Maine, these piece

  • Fog Variations #2
    2012,
    Watercolor & water soluble crayon on paper
    The landscape has endured in my oeuvre largely through my watercolor and oil pastel works on paper. Done mostly in and around the Schoodic Peninsula, part of Acadia National Park in Maine, these piece

  • Fog Variations #5
    2012
    Watercolor & water soluble crayon on paper.
    The landscape has endured in my oeuvre largely through my watercolor and oil pastel works on paper. Done mostly in and around the Schoodic Peninsula, part of Acadia National Park in Maine, these piece

  • Cranberry Point #2
    2012
    Watercolor & oil pastel on paper.
    The landscape has endured in my oeuvre largely through my watercolor and oil pastel works on paper. Done mostly in and around the Schoodic Peninsula, part of Acadia National Park in Maine, these piece

  • Cranberry Point #1
    2012
    Watercolor & water soluble crayon on paper.
    The landscape has endured in my oeuvre largely through my watercolor and oil pastel works on paper. Done mostly in and around the Schoodic Peninsula, part of Acadia National Park in Maine, these piece

  • Cranberry Point #3
    2012
    Watercolor & water soluble crayon on paper.
    The landscape has endured in my oeuvre largely through my watercolor and oil pastel works on paper. Done mostly in and around the Schoodic Peninsula, part of Acadia National Park in Maine, these piece

  • Distant Ledges
    2012
    Watercolor & water soluble crayon on paper.
    The landscape has endured in my oeuvre largely through my watercolor and oil pastel works on paper. Done mostly in and around the Schoodic Peninsula, part of Acadia National Park in Maine, these piece

  • Pale Cobalt Surf
    2012
    Watercolor, water soluble felt tip & crayon on paper
    The landscape has endured in my oeuvre largely through my watercolor and oil pastel works on paper. Done mostly in and around the Schoodic Peninsula, part of Acadia National Park in Maine, these piece

  • View of Little Moose
    2010
    Watercolor & oil pastel on pape
    The landscape has endured in my oeuvre largely through my watercolor and oil pastel works on paper. Done mostly in and around the Schoodic Peninsula, part of Acadia National Park in Maine, these piece

  • Island Apparition
    2010
    Watercolor & oil pastel on paper
    The landscape has endured in my oeuvre largely through my watercolor and oil pastel works on paper. Done mostly in and around the Schoodic Peninsula, part of Acadia National Park in Maine, these piece

  • Ledges at Deep Cove
    2010
    Oil pastel on paper
    The landscape has endured in my oeuvre largely through my watercolor and oil pastel works on paper. Done mostly in and around the Schoodic Peninsula, part of Acadia National Park in Maine, these piece

  • Flye Point #1
    2010
    Watercolor & oil pastel on paper
    The landscape has endured in my oeuvre largely through my watercolor and oil pastel works on paper. Done mostly in and around the Schoodic Peninsula, part of Acadia National Park in Maine, these piece

  • Islands Off Crowley (left diptych)
    2010
    Watercolor & oil pastel on paper
    The landscape has endured in my oeuvre largely through my watercolor and oil pastel works on paper. Done mostly in and around the Schoodic Peninsula, part of Acadia National Park in Maine, these piece

  • Seasonally Affected #3
    2013,
    Oil paint on linen mounted on panel.
    Chroma and atmosphere saturate my painting, imbuing the picture plane with an expansive spatial perspective, yet densely textured surface. Loose pigment is coupled with tightly drafted, curvilinear ed

  • Seasonally Affected #2
    2013
    Oil paint on linen mounted on panel.
    Chroma and atmosphere saturate my painting, imbuing the picture plane with an expansive spatial perspective, yet densely textured surface. Loose pigment is coupled with tightly drafted, curvilinear ed

  • Seasonally Affected #1
    2013,
    Oil paint on linen mounted on panel.
    Chroma and atmosphere saturate my painting, imbuing the picture plane with an expansive spatial perspective, yet densely textured surface. Loose pigment is coupled with tightly drafted, curvilinear ed

  • Seasonally Affected #4
    2013
    Oil paint on linen mounted on panel.
    Chroma and atmosphere saturate my painting, imbuing the picture plane with an expansive spatial perspective, yet densely textured surface. Loose pigment is coupled with tightly drafted, curvilinear ed

  • Warm Ledge
    2012
    Oil on canvas.
    Chroma and atmosphere saturate my painting, imbuing the picture plane with an expansive spatial perspective, yet densely textured surface. Loose pigment is coupled with tightly drafted, curvilinear ed

  • Rocks & Lichen
    2012
    Oil on canvas.
    Chroma and atmosphere saturate my painting, imbuing the picture plane with an expansive spatial perspective, yet densely textured surface. Loose pigment is coupled with tightly drafted, curvilinear

  • Sea Creatures
    2012
    Oil on canvas.
    Chroma and atmosphere saturate my painting, imbuing the picture plane with an expansive spatial perspective, yet densely textured surface. Loose pigment is coupled with tightly drafted, curvilinear ed

  • Smolder
    2012
    Oil on canvas.
    Chroma and atmosphere saturate my painting, imbuing the picture plane with an expansive spatial perspective, yet densely textured surface. Loose pigment is coupled with tightly drafted, curvilinear ed

  • Fairytale
    2009
    Stenciled oil on canvas
    With stenciling I’ve found there’s an “automatic” quality to painting in or around a physical boundary such as tape. When the intricate web of tape is removed it reveals unexpe
 








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