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In her best work, the distinction between abstration and representation becomes meaningless--form, space, color and architecture dance among themselves as limpidly as thought.
-Stephanie Lee Jackson, Pretty Lady
[Oliver Sacks] might describe Elisabeth Condon's paintings as a purposeful adventure in synesthesia.
-Nell, New Zealand Art Monthly
The result feels like a dream or memory suddenly, if fleetingly made visible.
-Bill Van Siclen, Providence Journal
Oh, yes, Condon mentioned China at Yaddo, how she stole from its art, both high and low, over and over, and then it stole her. But China is not her only referent--her mind Seusses and warps around leaves, motorbikes, birdhouses. I know software that would be envious. And color! This Elisabeth "Color" Condon exhibits no fear of bold pink or salmon or rust or aquamarine or vivid slithery green. She's gone serious on a love affair with water and color and collage. Where does all this color go? No plane is safe, it bends, rounds corners sometimes even outside installation, it gets sculptural and then collapses. And what's left--her emptiness haunts, almost Dali. Forget about go, stop. What we see is how we live. So flashy-Miami, so gorgeous rococo, so Fragonard, so Takashi Murakami, so now. Watch Condon celebrate all life-in-a-frame with delicate flourish.
-Teresa Svoboda, author of ten books and the forthcoming Pirate Talk, a reverie about mermaids from Dzanc Books.
The work of Elisabeth Condon shows in an exemplary and very personal way the real USA. The country of unbound freedom and liberty, the melting pot where different cultures collide and create symbioses.
Elisabeth Condon can be as spontaneous and ecstatic as the archetype of a heavy drinking abstract expressionist, letting the paint drip and splash on the surface. She can be as cool as the most stone-faced POP artist, using the symbols of the easygoing Californian lifestyle she has known since childhood. She can be sensitive and elegant as a Chinese ink painter, describing minuscule people wandering off into the depth of the picture. She can be enigmatic and teasing without submitting to any kind of post-modern irony. The most characteristic aspect of her work, however, is a joy of life which strikes the viewer with the same kind of well-being and harmony as a painting by Matisse.
-Tom Jørgensen, Editor of the monthly art review “Kunstavisen” |
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