My artistic process is multifaceted as I work in different series that include floor, wall, table top sculptures, drawings and shaped paintings of experimental materials. The forms and content are explored in different ways but are related to the same search and personal vision, tied to dreams and the mystic beauty in the day to day, including decay. Many of my recent pieces are “collections”, found fragments from specific landscapes in nature and the city, like shaped driftwood, bits of plastic and metal, and handmade forms of materials like papier mache, clay, wax or plaster with paint. I often find certain sizes of chipped plastic parts or flattened metal strips that have been run over. There are criteria for forms that I want to respond to and transform further. There might be a flattened curved black shape that has remaining bits of color, which I can emulate in repeated forms, like an echo of the original that is already something different than what it was. These parts have histories and my process with them is like strata, tracking of time, extension of the moment. They are carefully placed, connected and suspended on structures of steel or other materials, to read like sentences with implied cosmologies, bits of information orbiting around based on color, shapes and relationships. In addition, there is a system of forms in my sculptures and drawings developing and becoming a personal and formal iconography of symbols. They point to an implied narrative in addition to being about space, the body in space, line and color on form, or converging forms. These coexist with the assemblages and meld into works, perhaps serving in the translation of the work as a whole. Drawing and gouache on paper is essential to my practice as a way of recording. It’s a way I figure out forms and thoughts. The drawings are always purest in a spontaneous way of drawing small inventories of form and variations of sculptures I have made and wanting to make. I’m continually trying to capture and depict these drawn forms on a larger scale and back again in the sculpture. The works arrive out of a haptic sensibility and are made with a variety of combined and often found materials. In them I want to posit forms that lyricize the internal dynamics of a given space, moment, or place – its instances of fragmentation and unity, fragility and resilience. As composite structures the pieces are gestural, animated and sometimes suspended. I am trying to elucidate movement and capture corporeal motion - forms on the verge of collapse or convergence within a specified space or landscape. The impulse is to visualize thoughts and forms in ways that offer different ways of seeing and relating to the body, time, memory, and perception. I am emphasizing the element of time with the accumulation of matter and overlaying of material and form as a layering of time, thought, and memory. The form, reiterated, repeated, becomes a sequence that highlights something that has shifted. “Lendvay's hand melds into her creations, blurring the line between the synthetic and the pre-existing, fabricating objects that tread the boundary between our memory and hers. The artist's psychological excavation and manipulation of the phantasmagoric creates a skewed archeological repository that forges a nexus between history, memory, and matter, projecting a latent spectacle of our collective unconscious and distorted archetypes.”
2017 Under The Apple Tree Becky Yazdan - Elisa Lendvay, Fred Giampietro Gallery
2016 Power Boothe with works by Elisa Lendvay, Fred Giampietro Gallery
2013 Moon of the Moon, project space, Giampietro Gallery, New Haven. CT
2012 Elisa Lendvay: Small Sculptures, Jason McCoy Gallery, NYChh
2009 Force of Things, V&A, NYC
2007 Fabled Agents, Moti Hasson Gallery, NYC
2003 Accretions, Lago Vista Gallery, Richland College, Dallas, TX
2002 To Flow, Ice House Cultural Center, Dallas, TX
2014 About a Mountain, curated by Holly Jarrett, Asya Geisberg Gallery, NYC
Domesticity, Jason McCoy Gallery, NYC
Your Spirit Don’t Leave Knowing, Bantom Switch Factory, Bantom, CT
Alone Together, Elisa Lendvay and Adrian Ting, Orgy Park, Buskwick, NY
The Last Brucennial, The Bruce High Quality Foundation, NYC
Genesis Forward Battery, HKJB, Ridgewood, NY
2013 In Denial, Black Bile, Curated by Nicole O’Rourke, HD Projects, NYC
Parlor Antics, Brooklyn, NY
The Order of Things, curated by Jamillah James, NurtureArt, Brooklyn, NY
2012 External Original, Clifford Art Gallery, Colgate University, Hamilton, NY
Montclair University Art & Design Faculty Exhibition, George Segal Gallery,
Montclair University, NJ
This is How my Brain Works, Radiator Gallery, LIC, NY
Paper Band, Jason McCoy Gallery, NYC
Cheat Chains and Telephone, Kansas, NYC
Ab/Ob/Ob, Bushwick, Brooklyn, NY
Waivers, curated by EJ Hauser and Rob Nadeau, Brooklyn, NY
Wide Field, Ridgewood, Queens, NY
2011 Have You Seen This Guy’s Work?, Softspot/University of Massachusetts
Amherst Museum of Art
Taking Shape, Standpipe Gallery, NYC
Temporary Antumbra Zone, Janet Kurnatowski Gallery,
Black Sunday, curated by Saira McLaren, Art Book Club, St. Cecilia Gallery, Brooklyn, NY
Iced, Newhouse Center for Contemporary Art, Staten Island, NY
small.black.show. Small Black Door, Brooklyn, NY
2010 Painting Comes Alive! Curated by Erik den Breejen, Artjail, NYC
Uncrumpling This Much Crumpled Thing, The Exhibition Agency, Chicago, IL
Born to Die, Curated by Jay Henderson, Secondhome Projects/Temp IX, Berlin
World’s Greatest, Daily Operation, NYC
Half-Invisible, POI, Bushwick, Brooklyn, NY
Yard Art, The Dirty Dirty, Brooklyn, NYC
New Works by Melissa Brown and Elisa Lendvay at Fred Giampietro Gallery.
Artscope, New England’s Arts and Culture Magazine. November 21, 2013
Daniel Wiener: Elisa Lendvay Small Sculpture, Art Seen.
6 Things to Do in New York’s Art World Before January 7th.
Gallerist NY, The New York Observer. January 4, 2013
William Eckhardt Kohler. Elisa Lendvay: How the Eye Speaks. Huffington Post. October 25, 2012
Paddy Johnson. There’s no Place like Kansas. The L Magazine. February 1, 2012
Painter’s Bread, Visual Sustenance, Elisa Lendvay: Painting, Sculpture, and No Boundaries.
November 12, 2011
Gorky’s Granddaughter, November 2011
Julia V. Hendrickson. Review Uncrumpling This Much Crumpled Thing/The Exhibition Agency.
New City Art. August 30, 2010
Nora Griffin. Tensegrity. artcritical.com. August 2008.
James Kalm. Tensegrity. Wagmag. July 1, 2008. (http://wagmag.org/reviews.php)
James Wagner. Elisa Lendvay at Moti Hasson. JamesWagner.com. April 13, 2007.
Amanda Douberly. From Stuff. Austin Chronicle. July 14, 2006.
Jean Claire Van Ryzin. Diverse Show of ‘New American Talent’. Austin American-Statesman.
June 29,2006. pg.16
Sunny Side Up, Exhibition Catalogue, Arlington Museum of Art, Arlington, TX 2003
Tom Sime. Flow Art. Dallas Morning News. October 16, 2002
Mike Daniel. ‘Feisty” At 500X. Dallas Morning News. September 21, 2001
Silo Publication, Bennington College, Bennington VT 1993, 1994
Student Portfolio, Art in Focus. NY: Glencoe, 1994, pg.335
About Elisa Lendvay
The work of Elisa Lendvay starts on the way to the studio, where she accumulates the objects that make up her sculptures. She transforms these found objects with paint or by combining them with materials like plaster, papier-mâché, and wire, creating microcosmic works that look as though they were washed up on a beach or bleached by the sun. Her work explores the relationship between painting and sculpture, and much of it walks the line between the two mediums, whether through the use of paint to emphasize line and form in the style of Jean Dubuffet, or in three-dimensional paintings with layers of built-up details that protrude from the wall. “I’m interested in rendering movement and a sort of energy in different ways of working and thinking with the hands,” Lendvay has said of her multifaceted practice.
American, b. 1975, Dallas, Texas