Elisa Lendvay, ‘Mauve Moods’, 2016, FRED.GIAMPIETRO Gallery
Elisa Lendvay, ‘Mauve Moods’, 2016, FRED.GIAMPIETRO Gallery
Elisa Lendvay, ‘Mauve Moods’, 2016, FRED.GIAMPIETRO Gallery
Elisa Lendvay, ‘Mauve Moods’, 2016, FRED.GIAMPIETRO Gallery
Elisa Lendvay, ‘Mauve Moods’, 2016, FRED.GIAMPIETRO Gallery
Elisa Lendvay, ‘Mauve Moods’, 2016, FRED.GIAMPIETRO Gallery
Elisa Lendvay, ‘Mauve Moods’, 2016, FRED.GIAMPIETRO Gallery
Elisa Lendvay, ‘Mauve Moods’, 2016, FRED.GIAMPIETRO Gallery

View Elisa Lendvay Video https://vimeo.com/33352340
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.” Holly Jarret, curator of "About a Mountain", Asya Geisberg Gallery, Summer 2014

Solo Exhibitions
2017 Under the Apple Tree, Fred Giampietro Gallery, New Haven, CT
2013 Moon of the Moon, project space, Giampietro Gallery, New Haven. CT
2012 Elisa Lendvay: Small Sculptures, Jason McCoy Gallery, NYC
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
Group Exhibitions
2017
Matteawan Gallery, post-magic-symbiosis, Beacon, NY
Glenlily Grounds 2017, Outdoor Sculpture Exhibit, Newburg, NY
583 Park Avenue, Sculpture Installation for NYFA Hall of Fame Benefit, NYC
Act 1, organized by Kristen Dodge & Dawn Breeze, Hudson Hall, Hudson, NY
Hygienic Gallery, Object and Influence, organized by Jason Silva, New London, CT
2016
TSA, Drawing for Sculpture, curated by Courtney Puckett, Brooklyn, NY
Underdonk, Onion by the Ocean, Organized by Essye Klempner and Elisa Soliven, Brooklyn, NY
Sardine at Atlas, Silent Shout, Curated by Lacey Fekishazy, Newburgh, NY
Glenlily Grounds 2016, annual outdoor sculpture and installation exhibition in Newburgh, NY
Lorimoto, Till Death do Us Part, Ridgewood, NY
Perimeter Gallery, Bodies, curated by Ilse Murdock, Belfast, ME
2015
George Segal Gallery, Faculty 2015 Department of Art and Design, curated by John Rasmussen, Director and Curator at the American University Museum, Montclair State University, NJ
Lesley Heller Workspace, Object’hood, curated by Inna Babaeva and Gelah Penn, NYC
Howard Payne University, I-10, National Exhibition of Contemporary Two-Dimensional Art, curated by Christopher Schade, Brownwood, TX
Glenlily Grounds 2015, annual outdoor sculpture and installation exhibition in Newburgh, NY
2014
Asya Geisberg Gallery, NYC About a Mountain, curated by Holly Jarrett
Jason McCoy Gallery, NYC Domesticity
Bantam Switch Factory, Bantam, CT, Your Spirit Don’t Leave Knowing,
Orgy Park, Buskwick, NY, Alone Together, Elisa Lendvay and Adrian Ting
The Bruce High Quality Foundation, NYC, The Last Brucennial
HKJB, Ridgewood, NY Genesis Forward Battery
Rare Gallery, Quiet Please, NYC
Underdonk Studio, Improvised Showboat #3, Brooklyn, 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
Kansas Gallery, Cheat Chains and Telephone, NYC
Jason McCoy Gallery, Paper Band, curated by Stephanie Buhmann, NYC
External Original, Clifford Art Gallery, Colgate University, Hamilton, NY
Montclair University Art & Design Faculty Exhibition, George Segal Gallery,
Montclair University, NJ
Radiator Gallery, LIC, NY, This is How my Brain Works
Jason McCoy Gallery, NYC Paper Band
Kansas, NYC, Cheat Chains and Telephone
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
Standpipe Gallery, NYC Taking Shape
Janet Kurnatowski Gallery, Brooklyn, NY, Temporary Antumbra Zone,
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
No Plans for Today, Fun Times Gallery, Brooklyn, NY
Folksmusic, Daily Operation, NYC
Friends in High Places, Christopher Henry Gallery, NYC
Verge Art Fair, ANTIDOTE Gallery, curated by Christopher Schade, NYC

Gorky’s Granddaughter, November 2016,
http://www.gorkysgranddaughter.com/2016/12/elisa-lendvay-nov-2016.html

Tiana Wang. Between Lovely Lines. Yale News, November 4, 2016
(http://yaledailynews.com/blog/2016/11/04/between-lovely-lines/)

Jason Andrew. Greenpoint Open Studios: 10 Must See Artists. Norte Maar
April 25, 2016
(http://nortemaar.org/2016/04/greenpoint-open-studios-10-must-see-artist/)

Paddy Johnson. Katherine Bradford and Drawing for Sculpture: Swimmers and Gender Politics. Art F City, January 22, 2016
(http://artfcity.com/2016/01/22/katherine-bradford-and-drawing-for-sculpture-swimmers-and-gender-politics/)

Etty Yaniv. Till Death Do Us Part at Lorimoto, a Marriage of Art. ArtFuse. January 13, 2016
(http://artefuse.com/2016/01/13/til-death-do-us-part-at-lorimoto-a-marriage-of-art-124359/)

Two Coats of Paint. Revitalization by contamination: OBJECT'hood at Lesley Heller. August 2, 2015
(http://www.twocoatsofpaint.com/2015/08/revitalization-by-contamination.html)

Elisa Lendvay in “About a Mountain” at Asya Geisberg Gallery, New York Art Tours, August 2014
(http://newyorkarttours.com/blog/?tag=elisa-lendvay)

Speed Dating with Art: Fast times at Bushwick Beat Nite, March 5, 2014
(http://bushwickdaily.com/2014/03/bushwick-beat-nite-boasts-an-artful-evening/)

New Works by Melissa Brown and Elisa Lendvay at Fred Giampietro Gallery. Artscope, New England’s Arts and Culture Magazine. November 21, 2013
(http://archive.constantcontact.com/fs191/1101530073189/archive/1115711925307.html)

Daniel Wiener. Elisa Lendvay Small Sculpture, Art Seen, The Brooklyn Rail, February 2013
(http://www.brooklynrail.org/2013/02/artseen/elisa-lendvay-small-sculpture)

The Order of Things, Curated by Jamillah James, Exhibition Catalog, NURTUREart, 2013
(http://issuu.com/nurtureart/docs/jamillah_james_ebook)

6 Things to Do in New York’s Art World Before January 7th. Gallerist NY, The New York Observer. January 4, 2013
(http://galleristny.com/2013/01/6-things-to-do-in-new-yorks-art-world-before-january-7/)

William Eckhardt Kohler. Elisa Lendvay: How the Eye Speaks. Huffington Post. October 25, 2012
(http://www.huffingtonpost.com/william-eckhardt-kohler/elisa-lendvay_b_1953160.html)

Kevin Kinsella, Randomly Determined. Bomb Magazine. September 26, 2012 (http://bombmagazine.org/article/6842/randomly-determined)
Paddy Johnson. There’s no Place like Kansas. The L Magazine. February 1, 2012 (http://www.thelmagazine.com/newyork/theres-no-place-like-kansas/Content?oid=2207301)
Painter’s Bread, Visual Sustenance, Elisa Lendvay: Painting, Sculpture, and No Boundaries. November 12, 2011
(http://www.paintersbread.com/2011/11/elisa-lendvay-painting-sculpture-and-no.html,)

Gorky’s Granddaughter, November 2011,
(http://www.gorkysgranddaughter.com/2011/12/elisa-lendvay-nov-2011.html)

Sharon Butler, Two Coats of Paint, Making our post-neo-faux-expressionist-prefigurative-protoconceptual heads spin. September 24, 2010
(http://www.twocoatsofpaint.com/2010/09/making-our-post-neo-faux-expressionist.html)

Julia V. Hendrickson. Review Uncrumpling This Much Crumpled Thing/The Exhibition Agency. New City Art. August 30, 2010
(http://art.newcity.com/2010/08/30/review-uncrumpling-this-much-crumpled-thingthe-exhibition-agency/)

Nora Griffin. Tensegrity. artcritical.com. August 2008.
(http://www.artcritical.com/griffin/NGTensegrity.htm)

James Kalm. Tensegrity. Wagmag. July 1, 2008.
(http://wagmag.org/reviews.php)

James Wagner. Elisa Lendvay at Moti Hasson. JamesWagner.com. April 13, 2007. (http://jameswagner.com/mt_archives/006194.html)

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