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elizabeth hoak-doering
updated: 09/17/2013
website: www.ehdoering.com
 
   
 
 
     
 
Artwork Title
art-medium
art-year
dimensions
Click thumbnails for full view:
 
Leaving the Harbor of Haloes at 54th Venice Biennale
Driver
Sailor and the Other Side
the Middle Way (installed at Nicosia Municipal Art Centre, Cyprus)
One Day the Sky Lifted up from the Rocks at Amathounda
things, witnesses!
forgotten chair, from 'things witnesses!'
things, witnesses !
drawing by an office chair, from 'things, witnesses!'
office chair, drawing. during 'things, witnesses!'
drawing by a hub extractor (detail), from 'things, witnesses!'
drawing by a piano stool (detail), from 'things, witnesses!'
piano stool, drawing. during 'things, witnesses!'
drawing by a metal bed, from 'things, witnesses!'
metal bed, drawing
 
Portfolio Keywords:  science, mapping, text, memory, language, narrative, gestural, identity, conceptual, political
 
 
Leaving the Harbor of Haloes at 54th Venice Biennale by elizabeth hoak-doering
Leaving the Harbor of Haloes at 54th Venice Biennale
projected animation (loop, 9'30")
2010, revised 2011
Dimensions variable
Driver by elizabeth hoak-doering
Driver
Plexiglas (Perspex)
2013
28 in" x  12.5 in"  x 0.25" 
Sailor and the Other Side by elizabeth hoak-doering
Sailor and the Other Side
Plexiglas (Perspex)
2013
28" x  12.5 in"  x 0.25" 
the Middle Way (installed at Nicosia Municipal Art Centre, Cyprus) by elizabeth hoak-doering
the Middle Way (installed at Nicosia Municipal Art Centre, Cyprus)
Xuan paper, graphite - two drawings
2012
197 " x  36" 
One Day the Sky Lifted up from the Rocks at Amathounda by elizabeth hoak-doering
One Day the Sky Lifted up from the Rocks at Amathounda
graphite, paper, Mylar
2012
11.5 in" x  16.5 in" 
things, witnesses! by elizabeth hoak-doering
things, witnesses!
borrowed objects, graphite, appropriated motors, motion sensors, sound
2010, Amiens France
Dimensions variable
forgotten chair, from 'things witnesses!' by elizabeth hoak-doering
forgotten chair, from 'things witnesses!'
chair, graphite, (appropriated motors, motion sensors)
2010, Amiens France
Dimensions variable
things, witnesses ! by elizabeth hoak-doering
things, witnesses !
borrowed objects, graphite, appropriated motors, motion sensors, sound
2009, Nicosia Cyprus
Dimensions variable
drawing by an office chair, from 'things, witnesses!' by elizabeth hoak-doering
drawing by an office chair, from 'things, witnesses!'
graphite, mylar
2009, Nicosia Cyprus
36" x  47" 
office chair, drawing. during 'things, witnesses!' by elizabeth hoak-doering
office chair, drawing. during 'things, witnesses!'
chair, graphite, (appropriated motors, motion sensors)
2010, Amiens France
Dimensions variable
drawing by a hub extractor (detail), from 'things, witnesses!' by elizabeth hoak-doering
drawing by a hub extractor (detail), from 'things, witnesses!'
old hub extractor, graphite, (appropriated motors, motion sensors)
2009, Nicosia Cyprus
36 " x  47 " 
drawing by a piano stool (detail), from 'things, witnesses!' by elizabeth hoak-doering
drawing by a piano stool (detail), from 'things, witnesses!'
graphite, mylar
2009, Nicosia Cyprus
36 " x  47 " 
piano stool, drawing. during 'things, witnesses!' by elizabeth hoak-doering
piano stool, drawing. during 'things, witnesses!'
piano stool, graphite, (appropriated motors, motion sensors)
2009, Nicosia Cyprus
Dimensions variable
drawing by a metal bed, from 'things, witnesses!' by elizabeth hoak-doering
drawing by a metal bed, from 'things, witnesses!'
graphite, mylar
2009, Nicosia Cyprus
36 " x  47 " 
metal bed, drawing by elizabeth hoak-doering
metal bed, drawing
metal bed frame, graphite, (appropriated motors, motion sensors)
2009, Nicosia Cyprus
Dimensions variable

Artist Statement
Elizabeth Hoak-Doering

 

My work is heavily researched, looking at anonymity, uncertainty in lore, and legibility in drawing and writing. I have also been interested in identity, chronological order, and narrative within objects and the environment.  Some of the work on this site refers to slide lectures and talks, given in Europe, Australia and the USA.

 

2013 | "Elizabeth Hoak-Doering's sculptures, drawings and writings, here presented as etched, hand-scrawled graffiti texts on Perspex sheets, reflect that moment when reading or comprehension begins to break down into illegibility. " 

'Fusiform Gyrus' at Lisson Gallery | notes | London. Raimundas Malašauskas, curator.

 

2011 | "Drawing on the alchemical, rather than exercising sculptural autocracy, is interestingly random; water temperature, movement and chemistry – rather than the artist herself – play the key role in the shaping of artifacts.  Allowing for chance and contingency in the interaction of natural elements is central to her artistic method.  In this respect Hoak-Doering's work is in keeping with the emphasis on phenomenal investigation in contemporary art practices that often involves controlled experimentation."

"Questions of Distance" in Temporal Taxonomy.  Liz Wells, University of Plymouth, UK

 

2011 | "While the motion sensors detect multiple encounters between human bodies and the space they inhabit, the ghost in the machine maps the traces of these chance movements into the visual records of the furniture drawings… Paradoxically, when the furniture drawing is completed, the human hand documents the mechanical signature of the artwork."

“Meta-Media and the Multiple Presence”, Marcia Brennan, Rice University USA

Artist Bio / CV
Elizabeth Hoak-Doering

2013

FUSIFORM GYRUS Lisson Gallery, London (curator Raimundas Malašauskas)

 

2012

(ESPECIALY FOR REMOTE VOYAGES) Skulpturenmuseum Glaskasten Marl, Germany: solo.

 

COLLECTIVE INTELLIGENCE: EARLY-HUMAN NARRATIVES Interdisciplinary Humanities Center, The University of California, Santa Barbara USA

Terra Mediterranea – In Crisis Nicosia Municipal Art Centre, Cyprus

OSTRALE’12 Dresden Germany

PALIMPSEST, Theartspace, Nicosia and Düsseldorf

Drawing Room Omikron Gallery, Nicosia Cyprus

 

2011

TEMPORAL TAXONOMY   54th Venice Biennale representing the Republic of Cyprus 

(two-person, curated by Yiannis Toumazis) Palazzo Malipiero, Venice

 

Fluxus-Post-Fluxus Theartspace Düsseldorf

 

2010

Chypre 2010, L’art au Présent. Espace Commines, Paris

Out of OSTRALE Alter Schlachthof.  Eupen, Belgium

Fluxus-Post-Fluxus Theartspace, Nicosia

Out of OSTRALE Galeria Szyb Wilson.  Katowice, Poland

OSTRALE '10 Dresden, Germany

Suspended Spaces Maison de l’Architecture, Amiens, France (curators Brent Klinkum and Françoise Parfait)

 

2009

AMANUENSIS Pharos Centre for Contemporary Art, Nicosia: solo

THINGS, WITNESSES! Nicosia Municipal Art Center Nicosia: solo

 

2008

EXPLICATION DE TEXTE Pantheon Gallery, Nicosia: solo

 

Pharos = 10 the Nicosia Municipal Art Centre,  Nicosia: The Collection of Garo Keheyan (curator Michael Asbury)

Navajo Landscape Radio Project in the 10th International Armenian Biennial, Gyumri Armenia

 

2007

SCULPTURE FOR C.R.  The Philadelphia International Airport Philadelphia

 

2006

Four Ways to Tell a Story, Eli Marsh Gallery, Amherst College, Amherst, MA

 

2005

News from NoWhere:  Visions of Utopia.  Walthamstow, London

ARTWORK Tufts University, Massachusetts USA

Art Full Text Art in City Hall, Philadelphia

 

2004

Altered Eden Brattleboro Museum, Vermont USA (curator Amy Ingrid Schlegel)

 

 

MFA, Sculpture Boston University, Boston, MA USA 1997

MA ed. University of the Arts, Philadelphia PA USA 1991

BA Anthropology. Amherst College, Amherst, MA USA 1988