Amy Ellingson’s work has been exhibited nationally and in Tokyo, Japan. She is the recipient of the Fleishhacker Foundation Eureka Fellowship and the Artadia Grant to Individual Artists and has been awarded fellowships at the MacDowell Colony, the Ucross Foundation and the Civitella Ranieri Foundation.  Recent group exhibitions include Open Ended: Painting and Sculpture Since 1900 at the San Francisco Museum of Modern Art, and Unfamiliar Again: Contemporary Women Abstractionists at the Newcomb Art Museum of Tulane University.  Ellingson’s work is held in various public collections, including the San Francisco Museum of Modern Art, the Crocker Art Museum, the San Jose Museum of Art, the Oakland Museum of California, the Berkeley Art Museum, the Achenbach Foundation for Graphic Arts, and the US Embassies in Algeria and Tunisia. She received a B.A. in Studio Art from Scripps College and an M.F.A. from CalArts. Her public commission, Untitled (Large Variation), is an 1100 square foot ceramic mosaic mural. It is a permanent installation on view in Terminal 3 at the San Francisco International Airport. Ellingson was Associate Professor of Art at the San Francisco Art Institute from 2000 to 2011 and has served on the Board of Directors at Root Division, a San Francisco nonprofit arts organization, since 2011. She lives and works in Santa Fe, New Mexico. 


My work is an attempt to confront the enormity of contemporary virtual experience while asserting the humanness of painting.  All of my imagery, whether geometrically intact or abstracted and chaotic, comprises a vocabulary of very simple forms that are digitally manipulated.  Using ephemeral, computer-generated images exclusively as my source material, I create paintings that physically assert themselves through the materiality and permanence of historical painting media.  The translation from the ‘virtual’ to the ‘real’ is paramount.  Digital tools enable me to develop a vocabulary of forms that are used, grabbed, reused, and manipulated beyond recognition, resulting in a signature vernacular of marks that are predetermined via digital processing. 

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