• home
  • Paintings
    • Miracles
    • Jubilee Hotel 2024
    • The Stranger 2023
    • WinterFlower 2021
    • Hibernia 2021
    • Hunting the Wodewose 2019 - 20
    • Into the Meadow of Certainty 2018 - 19
    • A Cold Wind From the Mountains 2017
    • California Dreamin' 2015
    • The Gift of Shit 2014
    • Absent Friends 2013 - 14
    • Bones in the River 2012 - 13
    • Hungry Ghosts 2012
    • The Ladies of Shalott 2010
    • Im Wartezimmer 2009 - 10
    • Austrian Men 2008 - 10
    • Queens 2007 - 9
    • My Grandmother's House 2006 - 7
  • Works on paper
    • Hibernia works on paper 2021
    • Limerence 2019
    • Poolside Barbecue 2017 - 18
    • The Ragged Girl 2017 - 18
    • A Cold Wind from the Mountains 2012 - 16
    • Family 2012
    • Watercolours Queens 2008 - 10
    • Collages 2009
  • Texts
    • Considering Art - interview with Bob Chaundy July 2021
    • Artist's statement 2015
    • From 'Picturing People'
    • A Coruscating Eye
    • Hibernia
    • The Ladies of Shalott
    • Im Wartezimmer
    • A Cold Wind From The Mountains
  • CV
  • Contact

Eleanor Moreton

  • home
  • Paintings
    • Miracles
    • Jubilee Hotel 2024
    • The Stranger 2023
    • WinterFlower 2021
    • Hibernia 2021
    • Hunting the Wodewose 2019 - 20
    • Into the Meadow of Certainty 2018 - 19
    • A Cold Wind From the Mountains 2017
    • California Dreamin' 2015
    • The Gift of Shit 2014
    • Absent Friends 2013 - 14
    • Bones in the River 2012 - 13
    • Hungry Ghosts 2012
    • The Ladies of Shalott 2010
    • Im Wartezimmer 2009 - 10
    • Austrian Men 2008 - 10
    • Queens 2007 - 9
    • My Grandmother's House 2006 - 7
  • Works on paper
    • Hibernia works on paper 2021
    • Limerence 2019
    • Poolside Barbecue 2017 - 18
    • The Ragged Girl 2017 - 18
    • A Cold Wind from the Mountains 2012 - 16
    • Family 2012
    • Watercolours Queens 2008 - 10
    • Collages 2009
  • Texts
    • Considering Art - interview with Bob Chaundy July 2021
    • Artist's statement 2015
    • From 'Picturing People'
    • A Coruscating Eye
    • Hibernia
    • The Ladies of Shalott
    • Im Wartezimmer
    • A Cold Wind From The Mountains
  • CV
  • Contact

Biography

Eleanor Moreton grew up in Berkshire and studied painting at Exeter College of Art and Chelsea College of Art. She studied Art History and Theory at the University of Central England. She works in Poplar, East London.

She has had solo shows with Ceri Hand Gallery; Jack Hanley in New York; Maya Frodeman Gallery (formerly Tayloe Piggott Gallery), Jackson Hole, USA; Arusha Gallery, Edinburgh and London; Phoenix Exeter, and has been in numerous group shows at home and internationally. Her work can be found in The Anomie Review of Contemporary Painting (2018) and Picturing People, by Charlotte Mullins (2015)

My paintings are about how I find being in the world. They weave together ideas about family, gender, history, folklore and politics, all overseen by a psychoanalytic eye. Restless, non-fixed, pushing and pulling, dissolving and reforming, they move between the world we 'know' and the less stable world of our imaginations.

Solo Exhibitions

2023                 Dwelling, Being, Clearing, Tayloe Piggott Gallery, Jackson Hole, USA

2021                 WinterFlower, Arusha Gallery, London

2019 Wodewose, Arusha Gallery, Edinburgh, Scotland

2017                 A Cold Wind From The Mountains, Exeter Phoenix, Exeter

2016                 Monro Room, The House of St Barnabas, London

2015                 California Dreamin’, Canal, London

2014                 Tales of Love and Darkness, Ceri Hand Gallery, London

2012                 I See the Bones in the River, Ceri Hand Gallery, London, reviewed Art Monthly by Peter Suchin

2010                 The Ladies of Shalott, Jack Hanley Gallery, New York, reviewed Art in America by Julian Kreimer

2010                 Im Wartezimmer, Ceri Hand Gallery, reviewed by Jonathan Griffin Interface, Rob Clark Guardian 10/4/10,  

Guardian Pick of the Week, 17/4/10

2010                 Im Wartezimmer, The Terrace Gallery, Harewood House, Leeds

2008                A Buried Life, Reg Vardy Gallery, Sunderland, reviewed The Guardian, October 11, Rob Clarke

2008                Eleanor Moreton Paintings, DLI, Durham

 

Group Exhibitions

2023 A Closed Door - A Den, Arusha Gallery, Bruton

2023 Generator, Bobinska Brownlee Gallery, London

2022              Once Upon A Time, Chiltern St, London, curated by Flora Fairburn and Katie Heller

                      Cakes and Shapes, Tayloe Piggott Gallery, Jackson Hole, USA

2020              Me, Myself, I, Collyer Bristow Gallery, London, with Ken Kiff, curated by Rosalind Davis

                       Picture Palace, Transition Gallery, London

2016               The Classical, Transition Gallery, London, curated by Kristian Day

2016               Sampler, Arcade Fine Arts, London, curated by Kristian Day

2016               Liberties, The Exchange, Penzance, with Helen Chadwick, Rose English, Hayley Newman and Jo Spence,

curated by Day and Gluckman

2016               Telling Tales, Collier Bristow, London, curated by Rosalind Davis, with Gordon Cheung, Peter Davis

2016               Real Lives - Painted Pictures, The Crypt, curated by Barbara Howey

2015               Liberties, Collier Bristow, London, with Helen Chadwick, Rose English, Hayley Newman and Jo Spence,

curated by Day and Gluckman

2015                Strange Attraction, APT, London, with Andrew Mania, curated by Emily Purser

2014                Strange Meeting, Canal, London

2014                East London Painting Prize shortlist exhibition, London (catalogue)

2014                Informal Elements, OVADA, Oxford (catalogue)

        Detail, Bangkok, London, Lincoln

                        Ghost on the Wire, Bermondsey Project Space (catalogue)

2013                Galerie Vidal-St Phalle, Paris, 3 person show with Martin Assig and Maja Ruznic

        Rituals Are The Tellers Of Us, Newlyn Gallery, group show with Jeremy Deller, Tereza Buskova

        Painting Past Present, Laing Gallery, Newcastle on Tyne, with Emma Talbot, Paul Housley

2012                Let the World Slip, Lion and Lamb Gallery, London, curated by Simon Willems

                        Regrouping, Bend in the River Gallery, Sheffield, Lincoln, Nottingham and Gainsborough

                         LEAP, Contemporary Art Society, London

                        Crash, Charlie Dutton Gallery, London

2011                 Make Believe, Magnus Karlsson Gallery, Stockholm,  with Armen Eloyan, Ryan Mosley, Lynette Yiadom-Boakye

                       Jack Hanley, Frieze Art Fair, London

                       Memory of a Hope, Ceri Hand Gallery

                       Fade Away, Gallery North, Northumbria, 

                      Art Rotterdam with Ceri Hand Gallery       

2010              Fade Away, Transition Gallery, curated by Alli Sharma with Philip Allen, Mali Morris, Clem Crosby,

reviewed by Charles Danby in Aesthetica 7 December 2010

                      Jack Hanley, Frieze Art Fair, London

                       Black Hole Hums B Flat, Ceri Hand in Mayfair, with Juneau Projects, Bedwyr Williams, Mel Brimfield

                       Painting Today, Green on Red Gallery, Dublin, 

                       Behind the Mask, New Art Gallery, Walsall, with Cindy Sherman, Gillian Wearing and Glenn Brown

                       21, The Terrace Gallery, Harewood House, with David Hockney and Mark Wallinger, reviewed Mark Lawson, 

Front Row, Radio 4, 27 July 2010

                       Art Rotterdam, Ceri Hand Gallery

                       Stardust Boogie Woogie, Monika Bobinska Gallery

                       NADA Miami, Jack Hanley Gallery

                      The Armory Show, New York, Jack Hanley Gallery

2009             Four Women, Jack Hanley Gallery, New York, with Liana Dragomir, Rachel Goodyear and Megan Sullivan

                      Manchester Contemporary, Ceri Hand Gallery, Urbis

                      Threadneedle Prize, Mall Galleries, London, selected by Cathy Lomax and Jock McFadyen (catalogue)

                      Salon 09, Vyner Space, 

                      Ceri Hand Gallery, VOLTA, Basel

                      Creekside Open, APT Gallery, London, selected by Jenni Lomax

                      Home Truths, Harewood House , curated by Kerry Harker, with George Shaw and Michael Raedecker.

2008              John Moores 25, Walker Art Gallery, Liverpool 

                      Curious and Curiouser, Galleri Rebecca Kormind, Copenhagen  (catalogue)

                       Awopbopaloobop, Transition Gallery, London

                       Salon 08, VineSpace, London

                       Marmite Prize, Studio 1.1 Gallery  (catalogue)

                       All My Favourite Singers Couldn’t Sing, Workplace Gallery, Gateshead 

                      These Living Walls of Jet, Ceri Hand Gallery, Liverpool 

                       The Painting Room, Transition Gallery, London 

2007              East International,  Norwich Art Gallery selected by Matthew Higgs and Marc Chaimowicz (catalogue)

                       Start a Collection, Contemporary Art Projects, London 

                       Pranvere, National Gallery of Albania, Tirana, curated by Charles Danby (catalogue)

                       Close At Hand, Contemporary Art Projects, London  curated by Nicky Hodge and Gavin Maughfling,

                       Painted Ladies, The Surgery, London, curated by Eleanor Moreton with Rose Wylie and Emma Talbot (catalogue)

                

Residencies and Awards

2009                 Arts Council England, Grants for the Arts Award

2007 - 08          Artist in Residence Durham Cathedral

 

Collections

Government Art Collection

Private collections

 

Bibliography

2018 The Anomie Review of Contemporary British Painting by Matt Price, Anomie

2015     Picturing People by Charlotte Mullins, Thames and Hudson

2009    Articulated Artists Interview by Ali Sharma, May

 

 Research papers/ publications

2012     The Maternal Elephant

             Essay to accompany David Webb’s show at Transition Gallery, November

             Suspicion, ‘Garageland’, September

2011     Painting in the Borderlands of Language, ‘Garageland’ July 

            The Fake and the true l’eye,  ‘Garageland’ July

2007    Painted Ladies: some thoughts on translation and the authority of the image

            ‘Garageland’ April ISSN 1749-9267

1996     Abraham and the Shaping of Absence

            The importance of Kierkegaard’s Fear and Trembling in the early work of Barnett Newman, MA dissertation

1994     From Orpheus to Abraham

            Paper on the early work of Barnett Newman given at the Association of Art Historians Annual Conference

1993     The Death of Painting

            Postgraduate Diploma paper

Education

MA Painting, Chelsea College of Art

MA Art History and Theory, UCE

BA Fine Art, Exeter College of Art  

 

       

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