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Artist Statement:
Limbic System
Contains: Memory
Fear
Anger
Recognition
Emotional survival.
Lack there of
Leads to absence of
Memory Fear Anger Recognition
Recognizing that
Remembering fear
And misplaced anger
Is
Emotional survival.
(Format incorrect. Email for
original.)...
Further Information
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Artist Exhibitions:
Education
2007-2010 Rhode Island School
of Design, BFA Photography
2006-2007 Ringling College of
Art and Design, BFA
Photography
Solo Shows
Mechanics of the Limbic
System, Main Art Theater,
Royal Oak, MI 2008.
Mechanics of the Limbic
System, Abreact Gallery,
Detroit, 2008.
We Are, AJ’s, Ferndale, MI
2007.
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Further Information
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Artist Galleries:
Art Space II Gallery,
Birmingham, MI.
323 East Gallery, Royal Oak,
MI....
Further Information
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Artist Reviews:
Creative Quarterly Magazine,
Mar 2009.
Fairfield County Weekly,
“Female Artists Tackle
Taboos,” Sep 2008.
The Real Detroit, Art Reviews,
Feb 2008.
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Further Information
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Commissions:
Coming Soon!
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Elizabeth Eiten Biography:
| Biographical information for Elizabeth Eiten can be found below. The artist may choose what information to display. Sometimes the artist chooses not to display personal information to the general public. |
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Age
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21
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| Gender |
Female
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| Status |
Single
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| Children |
99
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| Religion |
not provided |
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| Education |
Undergraduate Work |
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| Hobbies / Interests |
Art, photography, yoga, reading, writing, hiking, camping, hunting, religion, philosophy, learning, outer space, imagination. |
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| Favorite Artistic Medium |
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| Favorite Arthistory Movement |
Suprematism - (1913 - 1919)
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| Favorite Visual Artist |
not provided
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| Favorite Work of Art |
not provided
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| Biggest Artistic Inspiration |
Francesca Woodman, Joel Peter-Witkin, Dorothea Tanning, Flemmish Art, Victorian Art, Surrealism, etc. |
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| Why Did You Become An Artist |
not provided |
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| Your Personal Biography |
I spent summers, holidays, and weekends at my grandmother’s hunting camp in northern Michigan, the Silver Wolf Ranch. My experiences at the hunting camp greatly influence my ideas about nature, rural living, ethics, and spirituality. Now that I live in an urban area, I can examine my childhood experiences more clearly.
In my photographs, I’ve always used animals and objects to tell stories. Using dead animals allows me to manipulate them so I can communicate a message. I work from my deepest instincts and feelings and this forces me to confront what I fear. Though they are based on my childhood memories, I am gratified when people can project their own stories onto the images. I want viewers to go beyond the surface level of my photographs. Making truthful images is not easy or difficult, but it is terrifying.
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contact artist
