More drawings in progress October 2012

The Centre Cannot Hold.  Ink and graphite on board. 38cm x 28cm. 2012

Work in Progress October 2012

Regrouping exhibition. Workstation. Sheffield

Regrouping at Workstation Sheffield.

Piss and Dried Flowers 2. Oil on canvas.2012

James Quin, Henry Tietzsch-Tyler, Eleanor Moreton, Barbera Howey, Derek Sprawson, and Sophie Lee. Workstation and X-Church

Work in progress August 2012

Fantin's Funeral. Oil on canvas 60cm x 40cm. 2012

Breughel's Monkey. Oil on board. 12cm x 10cm. 2012

CAVE ART FAIR

Recent work can be seen at CAVE ART FAIR. Liverpool Biennial 13th - 16th Sept
http://caveartfair.tumblr.com/

Work in Progress. August 2012

 Recent painting can be seen at CAVE ART FAIR. Liverpool Biennial.

CAVE ART FAIR

Recent paintings can be seen at CAVE ART FAIR, Liverpool Biennial this September

http://www.thedoublenegative.co.uk/2012/07/explore-cave-art-fair/

Work in progress. July 2012

Work in progress June 2012

Eleanor Moreton

Grey Sigmund.
Eleanor Moreton Homepage

'More Work In Progress' for Constellation Exhibition 2012

 The Disappointment. Oil on Linen. April 2012

 The Receiver. Oil on Linen. April 2012

The Relief Of Mafeking. Oil on canvas. April 2012

Piss and Dried Flowers. Oil on canvas. April 2012


Constellation

Work in progress April 2012

Work in progress April 2012

Soloviev Scale. Oil on canvas

 Tegmark Taxonomy. Oil on canvas

Fantin La Bleu

Unheimlich by Professor Christopher Jones

Bernadette O'Toole. Painting and The Blank Page

Work in progress March 2012

Constellations. York College Gallery. 12th May - 7th June

The titles of these drawings refers not to ‘constellation’ in its 
celestial sense, being a group of stars that form a recognisable 
pattern, but rather a group of associated or similar people or 
things. 


This group of recent small scale  drawings are 
not the result of a narrow thematic investigation, focused on 
any one particular subject. They function instead as a visual 
stream of consciousness where connections are made between 
drawings that generate alternate readings and prompt a related 
set of images that continue the process. 


Between fifteen and twenty 13cm x 20cm drawings on found books are worked on together 

in order to maximise the potential for each image to subtly alter 
those around it, like a visual virus, resulting in images that have 
evolved substantially from their origins.

A selection of paintings from these drawings can be seen at York College gallery from May 12th to June 7th 2012.

Predicting the past/Waldsee. Graphite, bleach and ink on found books. 2011/12

In the Summer of 1944, recently deported Jews sent postcards to Budapest from a place called Waldsee.  The postcards were handed to the Jewish Council in Budapest to be distributed to the addressees. "I am doing fine," the cards read. "I am working," or "I have arrived safely. I have got work in my occupation," or "Follow us here!"

Those who received a postcard from Waldsee searched for it on a map and easily found a place with this name. More than one, in fact; there was a "Waldsee" in Austria and in Switzerland. One of the leaders of the Hungarian Jewish Council, Fulop Freudiger, helped to distribute the postcards. It was he who noticed that on one of them, the word "Waldsee" was imposed over another name ending in "witz." Only later, at the end of June, would he fill out the remainder of the obscured postmark: Auschwitz.

These six drawings are based upon collages from as many examples of “Waldsee” tourist locations in Europe that I could find on the internet. Mimicking the original lie, they are fictions of a romantic rural idyll that depict simple pleasures at odds with the reality behind the original postcards.