Elisa Lendvay, ‘Ruffle’, 2016, FRED.GIAMPIETRO Gallery
Elisa Lendvay, ‘Ruffle’, 2016, FRED.GIAMPIETRO Gallery
Elisa Lendvay, ‘Ruffle’, 2016, FRED.GIAMPIETRO Gallery
Elisa Lendvay, ‘Ruffle’, 2016, FRED.GIAMPIETRO Gallery

View studio visit #1 with Elisa Lendvay https://vimeo.com/33352340
View studio visit #2 with Elisa Lendvay https://vimeo.com/194305148
Though I explore the form and content of my art in different ways, both are related to the same search and internal vision —a poetic and visceral probing of matter, materiality and movement, and a way of making physical what I know and don’t know. My process is multifaceted as I work in different series that include floor, wall, table top sculptures and assemblages, drawings, and shaped paintings of experimental materials. I often alter and combine found objects eroded by the elements as a way of recycling and responding to narratives of the city, nature, consumption, place and memory. The materials influence the forms and color so that the formation of each piece is not a struggle against the medium, but a digging down into the essence of a physical moment.

Linking these explorations together is a system of forms and personal iconography of symbols. I allow my process to lead to each new piece while a system of forms has evolved. Abstracted from observation are loops, arches, bands that curve, and forms that fan out and stack. Some forms parallel the body while others act as objects existing in space, architecture or landscape. They point to an implied narrative or archetypal space between. In drawings or modeled forms of clay, pigmented papier pulp or plaster and steel, they read as symbols, placements in space, signs, orientations, the body in space, movement, converging forms - sky and earth.

The pieces included in this selection all share ideas of network, structure and connection. They appear in lines, multiple parts that together make up solid shapes and those shapes are placements in space. Line is used as a way of fusing, connecting and suspending color, form and fragments by the use of of wire, steel rod or the painted mark. Fragmented forms and found objects are suspended with bits of color. Repetition in forms and lines is to reiterate a way of thinking about time, how things change and transform. Things are organized as similar yet different within these groupings. The following two examples of images exemplify some of these concepts and loosely describe some of the things happening.

On the steel rod framework, forms are arranged and suspended as if orbiting around each other and the base hemisphere. Orbiting forms include a ball of old wax with glitter, a wedge of rubber, and concave, curved and carved plaster parts with pigments. The celestial palate, movement and gestures of the hand reference forces of nature.

Orange Wave:
A bent grid of found rusted and folded wire reshaped to support an arrangement of found and modeled bits, monochromatically categorized by the color orange and the textures of material. The overall form capturing these collections like a net, is a curve like a wave but also has references to the human head.

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
Group Exhibitions

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,
Brooklyn, NY
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

Gorky’s Granddaughter, November 2016,

Tiana Wang. Between Lovely Lines. Yale News, November 4, 2016

Jason Andrew. Greenpoint Open Studios: 10 Must See Artists. Norte Maar
April 25, 2016

Paddy Johnson. Katherine Bradford and Drawing for Sculpture: Swimmers and Gender Politics. Art F City, January 22, 2016

Etty Yaniv. Till Death Do Us Part at Lorimoto, a Marriage of Art. ArtFuse. January 13, 2016

Two Coats of Paint. Revitalization by contamination: OBJECT'hood at Lesley Heller. August 2, 2015

Elisa Lendvay in “About a Mountain” at Asya Geisberg Gallery, New York Art Tours, August 2014

Speed Dating with Art: Fast times at Bushwick Beat Nite, March 5, 2014

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, The Brooklyn Rail, February 2013

The Order of Things, Curated by Jamillah James, Exhibition Catalog, NURTUREart, 2013

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

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

Gorky’s Granddaughter, November 2011,

Sharon Butler, Two Coats of Paint, Making our post-neo-faux-expressionist-prefigurative-protoconceptual heads spin. September 24, 2010

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.

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