EXHIBITION

Ellison_Circus
Circus
Scott Daniel Ellison, Snake Mountain
Snake Hill
Scott Daniel Ellison, Alien
Alien
Scott Daniel Ellison, Flicker
Flicker
Scott Daniel Ellison, Pines
Pines
Scott Daniel Ellison, Pale Moon
Pale Moon
Scott Daniel Ellison, Black Dirt
Black Dirt
Scott Daniel Ellison, Spider
Spider
Scott Daniel Ellison, Burrow
Burrow
Scott Daniel Ellison, Tub
Tub
Scott Daniel Ellison, Weasel
Weasel
Scott Daniel Ellison, Bat
Bat
Scott Daniel Ellison, Bridge
Bridge
Scott Daniel Ellison, Bat in Cave
Bat in Cave
Scott Daniel Ellison, Puppet Show
Puppet Show
Scott Daniel Ellison, Village
Village
Zoo, Scott Daniel Ellison
Zoo
Scott Daniel Ellison, Birdcage
Birdcage
Nest, Scott Daniel Ellison
Nest
Scott Daniel Ellison, Badger
Badger
Scott Daniel Ellison, Tracks
Tracks
Skeleton, Raccoon, Scarecrow
Skeleton, Raccoon, Scarecrow
Scott Daniel Ellison, Smurfette
Smurfette
Scott Daniel Ellison, Self Portrait with Skull Mask
Self Portrait with Skull Mask
Scott Daniel Ellison, Moth
Moth
Scott Daniel Ellison, Installation image
Exhibition image
Scott Daniel Ellison, Installation image
Exhibition image
Scott Daniel Ellison, Installation image
Exhibition image
Scott Daniel Ellison, Installation image
Exhibition image
Scott Daniel Ellison, Installation image
Exhibition image

July 24 – September 6, 2014

Opening Reception:
Thursday, July 24, 2014
5:00 – 8:00 p.m.

ClampArt is pleased to announce “Iowa, Ohio,” Scott Daniel Ellison’s fourth solo show at the gallery. The exhibition coincides with the release of the artist’s first monograph of the same name from Magical Thinking/Schilt Publishing (Hardcover, 80 pages, 9.4 x 7.7 inches, $40).

Ellison’s newest body of work imagines macabre vignettes inspired in equal parts by Scandinavian folklore, obscure horror films, and childhood fears and preoccupations. About his rearing in rural upstate, Ellison writes: “As Halloween approached I would get on my bike and ride around the developments and back roads of Warwick, New York looking for the witches, werewolves, vampires, and zombies that were put out on front lawns, placed in windows, or propped up on lawn chairs as decoration.” These explorations emerge in this body of work as arcane subjects, re-invented as children’s drawings—dark fantasies of an imagination gone wild.

These new works reflect a shift in visual and narrative complexity for Ellison. The recent scenes are no longer immediately readable, but instead give the viewer just a glimpse of vague (and often unsettling) occurrences. Though commonly whimsical and sometimes even endearing at first glance, the subject matter veers riotously between near sweet depictions of household pets and the more sinister implications of hands reaching from the mouths of tunnels, or skulls and spiders and bodies burrowed deep underground.

Trained as a photographer who counts images by Diane Arbus and Ralph Eugene Meatyard as early inspiration, Ellison’s work as a painter engages a history of “outsider” art, particularly the work of Bill Traylor and Henry Darger. This genealogy is apparent in Ellison’s visual language of deadpan compositions, smeared lines, flat shapes, and a general economy of means.

Work by Scott Daniel Ellison

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