CATALOGUES
2018
The Greater The Distance The Clearer The View Cley 18
by Caroline Fisher and Mary Crofts
Published by The North Norfolk Exhibition Project
2017
Jerwood Drawing Prize 2017
by Anita Taylor, Dr David Dibosa, Helen Legg, & Michael Simpson
Published by Jerwood Drawing Prize Project & Jerwood Charitable Trust
ISBN 978-1-908331-29-8
2016
British Invasion
Museum of Art and History Lancaster California
2016
Drawing Research, Theory, Practice Volume 1 Number 1
edited by Dr Adriana Ionascu & Doris Rohr
Eleanor Wood: Profound Subtlety by David Olivant
Published by Intellect Journals 2016
ISSN 2057-0384
2010
Salthouse 10 Landmark 2010
by Margie Britz and Andrew Schumann
Published by The North Norfolk Exhibition Project
2002
On the Edge Salthouse Church
by Amanda Geitner
Published by The North Norfolk Exhibition Project
1988
Arts Council Collection Acquisitions 1984-88
by Isobel Johnstone
Published by The South Bank Board 1988
ISBN 1 85332 049 8
1988
The Presence of Painting - Aspects of British Abstraction 1957-1988
1987
Cleveland Eighth International Drawing Biennale
by Judith Croft, John Berger and Catherine Lampert
Published by Cleveland County Council
ESSAYS
LINKS
REVIEWS / QUOTATIONS
The horizontal bands that straddle each half of the vertically divided image, fail to line up at the expected junctures in the picture’s centre. The failure to align challenges what writer David Olivant aptly called "the gently insistent geometry”, explains Eleanor. “The soft-edged watercolour stain bleeding out from behind makes the central image appear to float at an implied but unmeasurable distance in front of the paper surface.”
Artlyst
UK online art information website
Eleanor Wood’s delicate minimalist constructions are … intensely focused. Their material associations, as the critic David Olivant pointed out, call to mind “a virtual compendium of fabrication techniques,” including “joinery, grid-work, weaving, sewing, scarification, and wound dressing.” They’re small … and require close concentration. But if you take the time, you’ll be drawn into a hermetic universe of lines and squares that while tightly contained, also suggest an eerie, spectral seepage of light that Olivant likened to “an alternating visual current.”
David M Roth
Editor & Publisher Squarecylinder the online visual arts magazine for Northern Californian
an artist who uses a combination of media that culminates in a poetic engagement with the formal elements that is both intricate and exquisite.
Stephanie Nebbia
Fine Art Collective Global Manager Colart
The intensely saturated rectangles at once seem to hover above the surface, while simultaneously appearing to be woven into it.
David Olivant
Professor Califormia State University, Stanlislaus, from artcritical.com
Eleanor Wood’s work has a quality that makes the finished pieces seem ‘inevitable’. It is the sense of recognition that is the hallmark of all art that perfectly encapsulates experience.
Sara Latham Bell
Artist
CATALOGUES
2018
The Greater The Distance The Clearer The View Cley 18
by Caroline Fisher and Mary Crofts
Published by The North Norfolk Exhibition Project
2017
Jerwood Drawing Prize 2017
by Anita Taylor, Dr David Dibosa, Helen Legg, & Michael Simpson
Published by Jerwood Drawing Prize Project & Jerwood Charitable Trust
ISBN 978-1-908331-29-8
2016
British Invasion
Museum of Art and History Lancaster California
2016
Drawing Research, Theory, Practice Volume 1 Number 1
edited by Dr Adriana Ionascu & Doris Rohr
Eleanor Wood: Profound Subtlety by David Olivant
Published by Intellect Journals 2016
ISSN 2057-0384
2010
Salthouse 10 Landmark 2010
by Margie Britz and Andrew Schumann
Published by The North Norfolk Exhibition Project
2002
On the Edge Salthouse Church
by Amanda Geitner
Published by The North Norfolk Exhibition Project
1988
Arts Council Collection Acquisitions 1984-88
by Isobel Johnstone
Published by The South Bank Board 1988
ISBN 1 85332 049 8
1988
The Presence of Painting - Aspects of British Abstraction 1957-1988
1987
Cleveland Eighth International Drawing Biennale
by Judith Croft, John Berger and Catherine Lampert
Published by Cleveland County Council
2018
The Greater The Distance The Clearer The View Cley 18
by Caroline Fisher and Mary Crofts
Published by The North Norfolk Exhibition Project
ESSAYS
Working From Both Sides 2010
Eleanor Wood at Don Soker Contemporary by David Olivant for squaresylinder.com 2010
Eleanor Wood: Mixed media on paper by David Olivant for artcritical.com 2006
Silence by Sara Latham Bell 2002
LINKS
REVIEWS / QUOTATIONS
The horizontal bands that straddle each half of the vertically divided image, fail to line up at the expected junctures in the picture’s centre. The failure to align challenges what writer David Olivant aptly called "the gently insistent geometry”, explains Eleanor. “The soft-edged watercolour stain bleeding out from behind makes the central image appear to float at an implied but unmeasurable distance in front of the paper surface.”
Artlyst
UK online art information website
Eleanor Wood’s delicate minimalist constructions are … intensely focused. Their material associations, as the critic David Olivant pointed out, call to mind “a virtual compendium of fabrication techniques,” including “joinery, grid-work, weaving, sewing, scarification, and wound dressing.” They’re small … and require close concentration. But if you take the time, you’ll be drawn into a hermetic universe of lines and squares that while tightly contained, also suggest an eerie, spectral seepage of light that Olivant likened to “an alternating visual current.”
David M Roth
Editor & Publisher Squarecylinder the online visual arts magazine for Northern Californian
an artist who uses a combination of media that culminates in a poetic engagement with the formal elements that is both intricate and exquisite.
Stephanie Nebbia
Fine Art Collective Global Manager Colart
The intensely saturated rectangles at once seem to hover above the surface, while simultaneously appearing to be woven into it.
David Olivant
Professor California State University, Stanislaus, from artcritical.com
Eleanor Wood’s work has a quality that makes the finished pieces seem ‘inevitable’. It is the sense of recognition that is the hallmark of all art that perfectly encapsulates experience.
Sara Latham Bell
Artist