EXHIBITION

Scott Daniel Ellison, Witch Hazel
Witch Hazel
Scott Daniel Ellison, Night Rider
Night Rider
Scott Daniel Ellison, Lawn
Lawn
Scott Daniel Ellison, Frog and Crow
Frog and Crow
Scott Daniel Ellison, Adore
Adore
Scott Daniel Ellison, Lake
Lake
Scott Daniel Ellison, Monster Masks
Monster Masks
Scott Daniel Ellison, Cave Bear
Cave Bear
Scott Daniel Ellison, Werewolf
Werewolf
Scott Daniel Ellison, Crow Dance, Witch Hazel
Crow Dance
Scott Daniel Ellison, Bowl
Bowl
Scott Daniel Ellison, Mama Snake
Mama Snake
Scott Daniel Ellison, Batman
Man Bat
Scott Daniel Ellison, Midnight Movies
Midnight Movies
Scott Daniel Ellison, Pink Rabbit
Pink Rabbit
Scott Daniel Ellison, Punk
Punk
Scott Daniel Ellison, Flicker
Flicker
Scott Daniel Ellison, Reptile
Reptile
Scott Daniel Ellison, Vampire
Vampire
Scott Daniel Ellison, Terrorbird
Terrorbird
Scott Daniel Ellison, Moth man, Witch Hazel
Moth Man
Scott Daniel Ellison, Worm
Worm
Scott Daniel Ellison, Skeleton Man, Witch Hazel
Skeleton Man
Scott Daniel Ellison, Basement, Witch Hazel
Basement
Scott Daniel Ellison, Witch Hazel Installation 1
Installation Image 1
Scott Daniel Ellison, Witch Hazel Installation 2
Installation Image 2
Scott Daniel Ellison, Witch Hazel Installation 3
Installation Image 3
Scott Daniel Ellison, Witch Hazel Installation 4
Installation Image 4
Scott Daniel Ellison, Flora
Flora

May 26 – July 8, 2016

Opening reception:
Thursday, May 26, 2016
6:00 to 8:00 p.m.

ClampArt is pleased to present “Scott Daniel Ellison: Witch Hazel,” the artist’s fifth solo show at the gallery—and arguably his most impressive. The exhibition is accompanied by an extensive catalogue of the same title—each copy with a unique artwork inside (Softcover, 48 pages, 26 full-color illus., 9 x 6.75 inches, $40).

Drawing from personal experiences and fantasies, Ellison paints a loose narrative involving an assortment of beasts, monsters, and ghouls. Often beginning with a favorite moment from classic horror cinema, the artist allows his mind to wander, setting the stage for an obscure episode from a story with no beginning or end.

In his catalogue essay, critic Scott Indrisek writes: “Anyone’s reaction to these scenes is also tempered by a simple fact: Ellison’s paintings present themselves as relics of a type, their surfaces scuffed and pre-aged, making it difficult to nail down their exact provenance. They’re either fresh from the studio or unearthed from some forgotten attic, where they weathered the decades before being rediscovered. . . The quality conjured is talismanic.”

Employing compositions of “apparent spontaneity” with a deceptively “simple visual vocabulary,” Ellison creates paintings with childlike qualities—or rather artworks meant for the delight and dread of children.

Trained as a photographer who counts images by Diane Arbus and Ralph Eugene Meatyard as early inspiration, Ellison’s work as a painter engages the storytelling methods of American folklore with “pared-down lines and forms” and a general economy of means, including a strict palette of few hues. In fact, many of the paintings in “Witch Hazel” were created with only blacks, whites, and grays, sometimes referencing classroom chalkboards, and perhaps doodles in the margin of a daydreaming schoolboy’s notes.

Work by Scott Daniel Ellison

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