2018 Focus Gallery_Bright House

BRIGHT HOUSE | Eleanor Anderson + Ellie Richards

October 5 – December 2

Richards | Turned Table Top Lights | photo: L Gnadinger

Eleanor Anderson is a multi-faceted artist unconstrained in her material choices. She works across a broad range of media including ceramics, textiles, prints, and collage. Anderson uses bright colors in combination with graphic patterns as a signature throughout her work. 

Ellie Richards creates contemporary wood furniture and mixed media sculpture with a fervent love of color and texture. Richards is focused on the intersection between work and play and aims to blur the line between the two working modes.

This exhibition will include a mix of both artists’ functional and non-functional work as well as some collaborative pieces. 

Work from this exhibition will be available to purchase online Friday October 12th.
Throughout the duration of the exhibition, work will be available for purchase in our brick and mortar gallery.



Anderson | Triangular Bud Vases + Juice Cup
Anderson | Patterned Tote Bag
Anderson | Patterned Tote Bag

Eleanor Anderson – Artists Statement
Play is the engine that propels my studio practice and gives me freedom and satisfaction in the process.  I am interested in the place where chaos intersects order and where tradition meets improvisation. I use bright and unexpected colors in combination with graphic patterns to inspire a sense of tactility and joy for the viewer.  I celebrate imperfections and the vulnerable quality of the hand-drawn line as a metaphor for invitation and inclusion. I send work into the world with the intention of providing exuberant and playful spaces and objects for the viewer.

Richards | Bright Edge Console Tables | photo: L  Gnadinger
Richards | Bright Edge Console Tables | photo: L Gnadinger

Ellie Richards – Artists Statement
Work and play are generally perceived as opposites, my position as an artist is to showcase this relationship as congruous. A similar mental state can be assumed when both activities occur and, at times, I have found them to be inseparable in my own art practice. Given this often synchronous relationship I see an opportunity to pose questions using formal relationships found in material culture through the production of sculpture and furniture.