Eleanor Wood
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Arts Council Collection
On Paper

13 January 2018 -18 May 2019

On Paper is a new Arts Council Collection Touring Exhibition - touring the UK in 2018.

Paper will become the subject of this exhibition, rather than the often overlooked support for drawings. Artists have used paper to construct three-dimensional objects as diverse as Karla Black's delicate and sensuous hanging structures made from sugar paper, hair gel and chalk, Lesley Foxcroft's two-tone corrugated bricks, Gareth Jones' cloakroom ticket cape and Art and Language's jig-saw. Also considered will be works on paper which have been burnt, torn and cut by artists such as Roger Ackling, Cornelia Parker, Tim Davies and Simon Periton.

Collage is perhaps the most obvious form of cut paper work and the show will include a small group of collages by Roland Penrose, Eduardo Paolozzi, John Stezaker and Tony Swain, as well as paper works which have been rubbed, folded and embossed by artists such as James Richards, Anna Barriball, Wolfgang Tillmans and Langlands & Bell.

For some artists, the choice of a particular paper was an important consideration, and these include graph paper (Bridget Riley, Kenneth Martin), headed paper (Jason Coburn), an old envelope (Margaret Mellis), ordnance survey map (Tony Carter), blotting paper (Eleanor Wood) and corrugated card (Prunella Clough). Finally, a small group of artists have drawn paper itself in the form of theatre tickets, books and cards (Derek Boshier, Tania Kovats and Kate Davis).

Eleanor Wood was born and grew up in London. During the 1990's she was based in Norfolk in the east of England. Here she was surrounded by a gentle rolling landscape, edged in the east by the North Sea with its endless beaches, sand dunes and salt marshes. In 2002 the artist moved to Central California and divided her time between studios there and in the United Kingdom. In 2017 she returned to the UK and lives in North Norfolk.

Essentially abstract, her reductive works on paper lay a trail to artistic predecessors such as Agnes Martin, Edda Renouf and those associated with Post-Minimalist work. In many of the paintings, colour is applied in a highly diluted form in superimposed layers, each being allowed to dry for many hours before it is overlaid. Colour is applied from the back as well as the front of the paper, allowing the paint to soak through its thickness. A close relationship is established between the back and front of the paper and this connection is reinforced by lines scoured into the paper's surface and by pinpricks that link the front and back. Emphasis on the horizontal line has references in reality. The blurring of the watercolour around the central image stands as a metaphor for the indistinct or mysterious, and for the essentially organic.

Measurement and geometry establish structure and order. The modest physical scale provokes a sense of intimacy and invites close inspection and reflection. These quiet and subtle works explore the poetry of the understatement.


Perth Museum and Art Gallery
13 January - 3 March 2018

Gallery Oldham, Oldham
17 March - 13 May 2018

Inverness Museum and Art Gallery
26 May - 14 July 2018

Oriel Wrecsam
28 July - 22 September 2018

Glynn Vivian Art Gallery, Swansea
29 September - 25 November 2018

Victoria Art Gallery, Bath
1 December 2018 - 17 February 2019

Thelma Hulbert Gallery, Honiton
23 February - 18 May 2019