Biomorphic form, growth, decay, transformation, materiality, tactility, repetition, accumulation are some keywords to describe Ellen’s artworks. She experiments in different media – sculpture, installation, photography, drawing, painting – and uses a range of materials such as textiles, paper, plastic, organic material etc. Her projects are mostly rooted in a fascination for nature’s ingenious forms. References to art history are varied - op art, arte povera, minimalism, maximalism, formalism, post-painterly abstraction and artists such as Eva Hesse, Yayoi Kusama, Anish Kapoor, Ernesto Neto, Bridget Riley and Sol Lewitt, just to mention a few.
"I am stripping an object down to its cells, molecules and atoms, and then rebuilding it. I can bring something to life and I can destroy its existence. This time-consuming process and discipline evokes a deep-rooted respect for life and nature. It is quite amazing how long it takes to create something and then - how little it takes to destroy it"
As a child, Ellen and her father spent Sunday mornings watching documentaries of Jacques Cousteau and Carl Sagan, which led to an early fascination for the macro/micro cosmos.
"I struggle with the paradox of both liking and disliking. I can see the beauty of, say, a worm, in its lines, its movements, but I also find it truly repugnant (…) Fear, respect, fascination, curiosity and disgust blends into a soup of contradictory impressions. This, as well as how the body physically responds to such contradictions, is immensely interesting"
Her spiky paper sculptures provokes simultaneous feelings of caution and curiosity. We can choose to observe or touch. But any action has consequences:
the colourful spikes signal strength and aggression; but they are fragile, so touching may in fact destroy them. Curiosity comes at a price - a sombre undertone and critique of man's exploration of nature. |