The artist paints onto collaged pages comprised of his to-do list and hardware store needs, papers from the daily grind, as well as things he finds on the street that might spark an idea for new work or trigger a memory.
For the paintings OH and US, the artist paints onto collaged pages comprised of his to-do list and hardware store needs, papers from the daily grind, as well as things he finds on the street that might spark an idea for new work or trigger a memory. Ellis then responds to the pages by painting in and on them, rhythmically providing a pulse. The painted layer is graphic, loose, and flowing. Ellis calls his signature painting form—a graphic wave in silver and black— “flow,” representing motion in air and water. There is an unconscious, visual catalog below the surface of the final work—an archaeological, archival underpinning inside the painting, submerged below grade.
Curated by Dara Meyers-Kingsley
David Ellis received his BFA from Cooper Union. David Ellis’ work interprets music and sound. His paintings are often recorded in a form of digital time-lapse animation Ellis calls motion painting. Like jazz, these works provide Ellis with an opportunity to combine ideas with collaborators or work solo within a form that promotes improvisation and spontaneity. For a recent commission the artist painted a truck from sunup to sundown over five consecutive days. Ellis often stages events when exhibiting his motion paintings, inviting musicians, performers, and sound artists to interpret the work live. His motion painting, Paint on Trucks in a World in Need of Love was recently exhibited at MoMA. Ellis’ paintings are frequently improvised. He works directly on the walls of spaces that remain open to the public during installation and shares the making of the work with viewers. The experience is much like a band playing in front of a passing audience. Ellis further explores sound with kinetic installations that produce analogue sequences in rhythm