Elliott Hundley

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Elliott Hundley (born 1975) is an American artist, living and working in Greensboro, North Carolina. Elliott Hundley earned an MFA in the Department of Painting and Drawing at the University of California, Los Angeles in 2005, with a 1997 BFA in printmaking from the Rhode Island School of Design. He also attended the Skowhegan School of Painting and Sculpture in 2002, and had fellowships from the Fine Arts Work Center in Provincetown, MA, the Vermont Studio Center, and Bemis Center for Contemporary Art in Omaha, NE.

Elliott Hundley's work has been exhibited at Daniel Reich Gallery, NY; the Andrea Rosen Gallery, NY; as well as in various venues in Los Angeles, including group exhibitions at Peres Projects. Hundley has been part of the LAXed exhibition at the Peres Projects Berlin in April 2006 and the Hammer Museum in May 2006. His work is in the permanent collection of the Museum of Contemporary Art in Los Angeles, the Judith Rothschild Foundation Collection at the Museum of Modern Art, New York, and the Guggenheim Museum, New York.

He works with collages, and with large-scale constructions incorporating wooden sculptural forms.

Elliott Hundley’s drawings and sculptures piece together photographs, textiles and found ephemera to create whimsical and fragmented tableaux. Relating to the subjective formalism of Sarah Sze and Jessica Stockholder [1], Hundley uses the architectural properties of assemblage to replicate the intricate meanderings of his imagination. Mining the nostalgic and sentimental qualities of his eclectic materials, Hundley’s collages create narrative ‘dreamscapes’, entwining the personal and symbolic into friable mythologies.

Hundley engages with the dramatic in the staged emotiveness of his structures and in the performative element of their intensive making process. From a distance, Hundley’s sculptures exude a painterly expressiveness, which dissolves on close inspection into clusters of tiny figures, magazine clippings and bits of fabric precariously held in place by drawing pins. His two-dimensional pieces create this same sense of distortion using incongruous scale and disjointed aesthetics. Combining painting, drawing and collage, Hundley develops his images on both the top and under sides of the paper, creating a veneered effect that encapsulates the illusion of passing time and the intangibility of fantasy.