BiographyPainting, abstraction, queer theory, feminism, feminist materialities, French academic painting, performance, performance theory, embodiment, 1968 events, Simon Hantaï, digital sculpture, anatomy, topology, tableau.
Elliot's research interests emerge from a sustained studio practice in relation to painting, as well as teaching and writing. As part of his contribution to the recent exhibition ‘Tableau / Painting / Stage’, curated by Laura Lisbon, the concerns of his studio practice were brought into contact with aspects of theatre design, and questions related to the notion of tableau.
In 2011 he participated in the exhibition ‘What If It’s All True? What Then?’ and also contributed an accompanying text which explored connections between the materiality of painting, the archival image, and questions of time and gesture.
He is currently working on a text called ‘Simon Hantaï: Nothing Is Greater Than Necessity’ which will look at a constellation of ideas related to Hantaï’s work: the ‘ethical turn’ in political ideas catalysed by political ferment in 1968; resonances in French painting between post war and nineteenth century contexts; and contemporary questions in philosophy regarding new materialisms, particularly in the work of Karen Barad. Related to this he is also collaborating with Mick Finch on an exhibition entitled ‘Appearing As’ which develops these ideas in relation to contemporary artists who work with strategies that foreground the entanglement of image, history and material.
- Lisbon L, Harper A, Welish M, Fyfe J, Beauffort AD, Elliot S. Contemporary responses to the work of Simon Hantaï by Andy Harper, Marjorie Welish, Joe Fyfe, Amélie De Beauffort and Stuart Elliot (2015)
- Elliot S. Drawing the Nude: Structure Anatomy & Observation (2015)