Eileen Eder
News New Work 2006-2007 Still Life Landscape Figure Prints Artist Statement Contact Information

 
Detail of Desktop Still Life

artist statement &
resume

2008
The still life genre has provided me with the opportunity to create a dialogue between abstraction and representation. I have a strong belief in the value of drawing and beauty of painting and believe that ideas teamed with craftsmanship can make powerful art that is rich with many layers of interest.

My creative process involves conceptualizing and choreographing a “stage” of still life objects. A focus on abstract elements of composition, color, shapes and value are foremost in my mind. The paintings are then executed with a realistic, perceptual approach.

Fall 2005
Glass Top Series
This group of 24 still-life studies have in common a size of 12”x12” and glass top reflections. From those consistent restrictions the individual oil paintings vary a great deal with a diversity of objects, colors, shapes, and values. While the paintings are done in a realistic style, I concentrate on the abstract elements of the paintings. I use simple ordinary objects and papers for their shapes and colors rather than any sentimental value. A great deal of time is spent carefully composing a segment of a larger world, to keep every inch energized and engaging. After deciding on a composition my approach is purely perceptual. My focus is on the constantly changing colors and values caused by light, shadow and surrounding color reflections.

 

Spring 2005
Caught and Contained series, #1-3
This series of paintings has three themes: common food containers, fish and produce, and an inside/outside perspective. My goal for the viewer of these still lives is to experience ordinary everyday items in a new context in order to visually and psychologically see anew. Common, identically mass-produced containers are juxtaposed with natural world food items that are unique and individual. Combining the indoor still lives with the outside landscapes provides a metaphor for our personal up-close lives in relationship to the world around us.

Containers series #1-4
These drawings depict a windowsill view of various food containers, both man-made and natural. The objects provide a variety of shapes and forms contrasted with the negative space of light coming from behind. The recognizable, everyday objects encourage a narrative by nature of our individual relationships and histories to them.

 

Winter 2004-05
Don't Bother Me is a narrative painting that evolved from guilty, uncomfortable feelings that have plagued me by not allowing enough of what I read in the newspapers or witness on the television to interfere with my privileged life. Senseless Damage was inspired by the tragic execution of Margaret Hassan in Iraq in November 2004.

 

2004
Although my still lifes and landscapes are painted in a realistic style, I think of my objects as abstract shapes and colors within the rectangle. I enjoy using non-traditional combinations of objects to suggest a narrative and encourage the viewer to see common things in a new light.

 

2003
I begin with an idea. I then use models or still life objects to play out the idea. I work from my set up perceptually, playing close attention to how things affect each other visually with color and value and psychologically with content.

When painting landscapes, I am careful to find a location where I can capture the elements that excite me, such as light, shadow, shapes and color, and how those elements reflect on each other. I fight to leave out unnecessary details.

I have a love for drawing, and I portray things in a realistic manner because there is so much I find visually stimulating in the real world.

 

2001-2002
My paintings and drawings include both figurative and landscape imagery. Elements of abstract design, as well as realistic painting and drawing techniques, are strongly considered. I feel that my work is rich with layers of interest, both visually and psychologically. Visual clues are used to set a stage, mood or atmosphere. Season, time of day, and even weather conditions can become important details. The use of light and shadow are often strong, seductive elements.

I consider the viewers of my work to be important because I want others to be able to relate. I prefer to use recognizable subject matter so that the viewer will have some personal association. My work should engage viewers, hold their interest and stimulate their imagination.

 

resume

Education:

  • M.F.A., cum laude, Graduate School of Figurative Art, New York Academy of Art, 1998
  • New York Studio School, Summer Program, 1997
  • Rhode Island School of Design, Summer Masters Program, 1991
  • B.F.A. Albertus Magnus College, 1979

 

Teaching:

  • Gateway Community College, New Haven, CT, 2007-08
  • Creative Arts Workshop, New Haven, CT, Drawing and Painting Instructor
    2000-08
  • Creative Arts Workshop, New Haven, CT, Department Chair, 2000-03
  • Yale Center for British Art, New Haven, CT, Drawing Instructor, 2001-02
  • Holderness Academy, Plymouth, NH, Artward Bound Instructor, March, 2001

 

Solo Exhibitions:

  • Eileen Eder, George Billis Gallery, 511 West 25th St. NY, NY, May 27 - July 5, 2008
  • Light, Shadow and Reflection, ArtSpace, Women's Family Life Center, Guilford, CT, 2007
  • Glass Top Series, George Billis Gallery, 511 West 25th St. NY, NY, January-February 2006
  • Eileen Eder, Drawing and Painting, Edwards Art Gallery, Holderness Academy Plymouth, NH. April 2001
  • Personal Reality, Eileen Eder, Jewish Community Center of Greater New Haven, CT, December 2000

 

Group Exhibitions:

  • Black, White, and Between, Fenn Gallery, Woodbury, CT, June-August 2007
  • Table Tops, Haskins Laboratories, New Haven, CT, May-August 2007
  • Black, White, and Between, Seton Gallery, University of New Haven, January 2006
  • The New Haven Seen: Existence, Stagnation & Morphosis, Small Space Gallery, Arts Council of Greater New Haven, October 2005
  • Industrial Beauty, George Billis Gallery, 511 West 25th St., NY, NY, July 2004
  • 5 Painters, Manhattan Athletic Club, New York, NY, January 2004
  • Outlook New Haven, Arts Council of Greater New Haven, CT, June 2003
  • The Urban Landscape, John Slade Ely House, New Haven, CT, May 2002
  • 6 New Haven Landscape Painters, Jewish Community Center of New Haven, CT, March 2002
  • Beyond Appropriation , New York Academy of Art, New York, NY, 1998
  • Eileen Eder, Jean Oristano, Willoughby Wallace Memorial Library, Stony Creek, CT, June 1995
  • Drawing, Erector Square Gallery, New Haven, CT, April 1994

 

Selected Juried Shows:

  • Painting as Presence, National Juried Exhibition, Creative Arts Workshop, New Haven, CT, 2008
  • New Haven Paint and Clay Annual Juried Show, 2000, 2001, 2003, 2004, 2005, 2006
  • Arts Connecticut 2001, 2002, 2003, 2004, 2005, 2006, 2007 Guilford Art League Juried Exhibition, Guilford, CT
  • All Consuming, Green Gallery, Yale School of Art, New Haven, CT, June 2005
  • Close to Home, National Exhibition, Creative Arts Workshop, New Haven, CT, April 2005
  • Art of the Northeast Silvermine Guild Galleries, New Canaan, CT, 2003
  • Connecticut Women Artists, 1993, 1994, 2000, 2001, 2002, 2003
  • Narration, Emblem and Sequence in Contemporary Art, Creative Arts Workshop, 2001
  • The Portrait, New Haven Brush and Palette Club, 2001, 2002
  • Vital Signs, Drawing As Inquiry, Creative Arts Workshop, 2000
  • Beyond Appropriation, New York Academy of Art, New York, NY, 1998
  • Seeing Red, Hera Gallery, Wakefield, RI, 1998
  • The Connecticut Open, Real Art Ways, Hartford, CT, 1995
  • Photography, Prints and Drawings, Art Works Gallery, Hartford, CT, 1995
  • Women in The Visual Arts, Erector Square Gallery, New Haven, CT, 1994
  • Prints and Drawings, Artworks Gallery, Hartford, CT, 1993
  • Images of Summer, Artworks Gallery, Hartford, CT, 1992

 

Awards:

  • The Carle J. Blenner Prize, New Haven Paint and Clay Club, Juried Exhibition 2008
  • Arts Connecticut 2006, Guilford Art league 59th Juried Exhibition, First Place
  • New Haven Paint and Clay, Purchase Award, Spring 2003
  • Arts Connecticut 2003, Guilford Art League 56th Juried Exhibition, Merit Award
  • Connecticut Women Artist, 73rd Annual Juried Show, Golden Artist Colors Award
  • Arts Connecticut 2001, Guilford Art League 54th Juried Exhibition, Merit Award
  • Connecticut Women Artist, 71st Annual Juried Show, Artist’s Custom Framing Award

 

Publications:

Drawing, Teach Yourself Visually, Wiley Publishing, New Jersey, 2008 pgs. 69, 92,140

Lopez Schmaltz, Leah, "Lights, Camera, Action," Guilford Courier, p.45-6,
August 23, 2007

Birke, Judy, "Haskins Artists Find Enriching Inspiration," New Haven
Register, p.E1, July 29, 2007

"Eder wins Juror’s Prize," Guilford Courier, p.C-7, September 7, 2006

  • Rogers, Nancy L., "Pursuing Dreams," Artis Magazine, p. 44, April-May 2005
  • Birke, Judy, "Home is where the art is," New Haven Register, p. E1, April 17, 2005
  • Barry, Amy, "Painting the Town," Shoreline Times, June 5, 2003
  • Birke, Judy, "On canvas, glimpse of studio," New Haven Register, p.E1, April 14, 2002
  • Hoffman, Hank, "What’s the Story Here," New Haven Advocate, May 31, 2001
  • Zimmer, William, "Creative Works with a Political Flair," New York Times, June 24, 2001
  • Birke, Judy, "In a crowded faculty show, four stand out." New Haven Register, p.D1, Jan. 24, 2000
  • Birke, Judy,” On canvas”, New Haven Register, Dec. 24, 2000
  • "What’s Happening," New Haven Register, p.E3, December 10, 2000
  • "Vital Signs: Drawing as Inquiry," The New Haven Advocate, May 1, 2000

 

Public and Corporate Collections:

  • Lipman Bros, Nashville, TN
  • Municipal Art Collection, City of New Haven
  • Permanent Collection, New Haven Paint and Clay
  • Petra Corporation, New Haven, CT
  • Pfizer Inc.
  • Plastic Works, New Rochelle, NY
  • US State Department, Washington D.C.
  • Stowers Institute
  • Sprint Corporation