The expressive brushstrokes and glaringly vacant sections in Elizabeth Neel’s works appear to be the result of collaged or layered abstraction at first glance. A closer look, however, exposes the artist’s particular style of representation. Her drippy and built-up surfaces investigate dark topics like as dogfights, plane crashes, and decay; they frequently draw influence from the actual world, including photographs from the internet and television.
Neel’s large-scale paintings on canvas and works on paper maintain her concentration on the abstraction-based externalisation of physical and psychological experience. Because he utilises a diverse lexicon of mark-making materials, such as fingers, rags, brushes, monoprinting methods, and rollers, Neel’s paintings are replete with evocative poetry and symptomatic of the correlative and repeated cycles of daily life.