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Artist ID: 2546

Embroidery has a dichotomous relationship with history and contemporary craft. As both craft and fine art, it defies classification. My use of textile art is an expression of innovation, feminism, beauty, and ecology.
This work originates from my citizen-scientist collection of objects gleaned from beachcombing on the Gulf Coast. In my studio, I 3D scanned crab claws, animal bones, shells and other found objects, then used software to translate the resulting 3D meshes for 2D embroidery. I enlarged the imagery from micro to macro proportions to illuminate the miniature. I think of each composition as an object in a wonder cabinet: a curated view of nature. Through the lens of early modern wonder cabinets, I am interested in merging the gendered roles of feminine needlework and masculine expectations of scientific collection and classification.

Elisabeth Pellathy works in a variety of mediums, responding to locations, history, and social context. She sees physical and digital manipulation of material as parallel processes. An open dialogue between these realms provides a generative space for her exploration of materiality and process. Tactile and digital, act as metaphors for the complexity of the space in-between, the slippage of the moment.

Often, ecological concerns or more specifically, issues of disappearance, are themes in her work. Urgency in issues of language, fragility, loss, (in)visibility, tactility, and magnification emerge. While Pellathy’s working methodology is at times divergent it reflects contemporary art in global times, where accessibility of information leads to variant paths, weaving, intersecting, or perhaps never meeting, yet offering a chance of discovery.

Pellathy (b. 1982, Latrobe, Pennsylvania) trained at Alfred University School of Art and Design, New York State College of Ceramics, Alfred, NY receiving a BFA in 2005 and an MFA in electronic integrated arts in 2011.

Her work has been exhibited at the Gadsden Museum of Art, USA (2020), Palazzo Albrizzi-Capello, Venice, IT (2019), Booth Museum, Royal Pavilion and Museums, UK (2018), Montgomery Museum of Fine Art, USA (2018), Alfred Ceramics Art Museum, USA (2017), Peale Center for Baltimore History and Architecture, USA (2017), Currents New Media, USA (2016), Unicorn Center for Art, China (2016) and the Urban Institute for Contemporary Art, USA (2011).

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