https://www.elycenter.org/events-2 daily 0.75 2026-07-25 https://www.elycenter.org/events-2/opening-reception-keyhole-residency-forget-me-knot monthly 0.5 2026-07-17 https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/cf6c9e69-c822-40a0-94a1-b771f3034979/group+reception+poster.jpg Events - Opening Reception: Keyhole Residency, Forget Me Knot - Join us on July 24th for the Opening Reception of the 2026 Cohort of Keyhole Artist shows and Lauren Be Dear’s Forget Me Knot solo exhibition https://www.elycenter.org/events-2/summer-apprenticeship-program-celebration monthly 0.5 2026-07-17 https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1784301265327-DG0G26PYRUPSBVEYSMJ9/ecoca-SAP-Flier-Opening.jpg Events - Summer Apprenticeship Program Celebration The Ely Center for Contemporary Art (ECOCA) invites you to the Summer Apprenticeship Program Opening Reception and Award Ceremony! Opening Reception & Award Ceremony Location: 162 James Street, New Haven, CT 06513 Time: July 24th - 6:00 PM What: Student artwork exploring safety and identity in New Haven An award ceremony celebrating the participants Poetry by New Haven Poet Laureate Yex Diaz Complimentary catering from HARVEST We hope to see you there! https://www.elycenter.org/events-2/closing-event-july-5-7pm monthly 0.5 2026-06-29 https://www.elycenter.org/events-2/artist-talk-where-is-the-human-in-this-place-moderated-by-roderick-ferguson monthly 0.5 2026-06-29 https://www.elycenter.org/events-2/stop-motion-workshop monthly 0.5 2026-06-29 https://www.elycenter.org/events-2/ecoca-at-iriss-america-250-celebration monthly 0.5 2026-06-29 https://www.elycenter.org/calendar-1 daily 0.75 2026-07-21 https://www.elycenter.org/calendar-1/lf86z8rv7eo4iap9ney0pf8ibwcjma monthly 0.5 2026-07-17 https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1a6fa7b1-94d2-47a6-a2f9-eb89fe4286d2/ecoca-LaurenBeDear-Solo-Fllier-Opening+copy.jpg On View and Upcoming - Forget Me Knot - FORGET ME KNOT Solo Exhibition by Lauren Be Dear Curated by David Borawski July 19th, 2026 - September 13th, 2026 https://www.elycenter.org/calendar-1/solo-keira-curwen monthly 0.5 2026-07-17 https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/00d397a7-a943-45d2-a127-228c1a0c890c/ecoca-Keira-Solo-Fllier-Opening+copy.jpg On View and Upcoming - Keira Curwen - Keira Curwen was born and homeschooled in essentially the woods of Upstate New York. She plans to remain on the East Coast. Curwen, who works in a variety of mediums (painting, printmaking, photography, CNC milling) has one goal: to locate tributaries from which the root of drawing can flow. She selects materials and creates marks to make images and address image-making directly. Curwen is exceptionally interested in the figure-ground, memory, and phenomenology. She studied at Pratt Institute in Brooklyn. Her solo show opens on July 19th and will be available for viewing until September 13th, 2026. https://www.elycenter.org/calendar-1/solo-parastoo-ahovan-past-present-and-beyond monthly 0.5 2026-07-17 https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1a2ea157-b6e8-4bc0-a82e-dd74b7a020ea/ecoca-ParastooAhovan-Solo-Fllier-Opening.jpg On View and Upcoming - Parastoo Ahovan - Past, Present, and Beyond Parastoo Ahovan is an interdisciplinary artist living and working in Connecticut. She received her MFA in Sculpture from Boston University in 2014. Working across sculpture, painting, installation, textiles, video, and performance, her practice explores material, form, and embodied experience. Ahovan’s work has been exhibited nationally and internationally, including the 56th Venice Biennale (Italy), EUNAM Museum (Gwangju, South Korea), Nouchin Pahlevan Gallery (Paris, France), Leila Heller Gallery (New York), the Tehran Sculpture Biennial (Iran), the Mykonos Biennial (Athens, Greece), and High Line Nine Gallery (New York). Her sculptures are also installed in urban spaces across Iran, Turkey, Spain, India, the UAE, Italy, France, China, and the United States. Her solo show opens on July 19th and will be available for viewing until September 13th, 2026. https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1784301916344-NJ3QL2WZXMI22NUP6G6W/8-+Rebuilt..jpg On View and Upcoming - Parastoo Ahovan - Past, Present, and Beyond https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1784301991724-ZPH9K9AD28B6Q83IJBU2/39D4ACF5-A7D0-4B8C-9DA8-ED2F6E5D4376.jpeg On View and Upcoming - Parastoo Ahovan - Past, Present, and Beyond https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1784301989577-EPX86I8WF3BJP9480M3E/C6C2CB20-8A73-4CE4-ACD3-C085BCB07F6A.jpg On View and Upcoming - Parastoo Ahovan - Past, Present, and Beyond https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1784301957222-U1GTB4EJ8W2838EA9BEX/DA1FF88F-1AE3-4FD7-9902-C8F39F3FEDB9.jpeg On View and Upcoming - Parastoo Ahovan - Past, Present, and Beyond https://www.elycenter.org/calendar-1/solo-aura-wang monthly 0.5 2026-07-17 https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1784301015200-ITM28T0SY3BU4CU3K4ME/ecoca-AuraWang-Solo-Fllier-Opening.jpg On View and Upcoming - Aura Wang Aura Wang is a Chinese-born painter working primarily in oil. Drawing from both Eastern and Western ancient cultures, she combines shared figure and symbolic forms from Eastern and Western ancient cultures and mythology to create a surreal healing space that evokes collective human memory and a sense of ancestral connection. Her solo show opens on July 19th and will be available for viewing until September 13th, 2026. https://www.elycenter.org/calendar-1/where-is-the-human-in-this-place monthly 0.5 2026-06-29 https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/c30f4406-8675-4190-9bc6-6fa6f1e8a73c/ecoca-WhereIsTheHumanInThisPlace-poster-final.webp On View and Upcoming - where is the human in this place - why and why and why should i call a white man brother? who is the human in this place, the thing that is dragged or the dragger? -Lucille Clifton, jasper texas 1998 https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1782753206382-NVWF3JB9C2C1YX6XUNJO/whereisthehumaninthisplace2_sm.png On View and Upcoming - where is the human in this place https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1782753206567-D0C3TN6TARW0J389DKRR/whereisthehumaninthisplace_3sm.png On View and Upcoming - where is the human in this place https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1782753207629-RWZ3UUJH3CDU9NAYU3UV/whereisthehuman_inthisplace1.png On View and Upcoming - where is the human in this place https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1782753207999-MOI5S0CFK1SX9BUYY5H7/ode_install.png On View and Upcoming - where is the human in this place https://www.elycenter.org/calendar-1/matin-malikzada-centering monthly 0.5 2026-06-29 https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/40df1403-40d3-4e4e-bf31-9ec4981f0dfd/MATIN%2B%40ELY%2BCENTER%2B8.5x11.webp On View and Upcoming - Matin Malikzada: centering - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.elycenter.org/calendar-1/asma-waheed-portals-of-holding monthly 0.5 2026-06-29 https://www.elycenter.org/calendar-1/event-two-w7zrh-s4xbg-lgery monthly 0.5 2026-07-21 https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/a3bb46d4-1e32-4bd1-b221-33c8e4abc1f7/masha+poster.webp On View and Upcoming - Mahsa Attaran: Dark Dey - Exhibition Dates: April 26 - July 5, 2026 Opening Reception: April 26, 1-4pm DARK DEY emerges from love for Iran and the urgency of witnessing its present history. Created in exile, Mahsa Attaran’s work responds to ongoing state violence, gendered oppression, and the massacre of over 50,000 civilians across two days—DEY 18th and 19th (January 8–9, 2026)—during the continuing revolution. It stands as both testimony and refusal of silence. Working from a distance, Attaran positions herself as both witness and subject, tracing how this violence is carried across borders and into the body. Her work reflects the condition of diaspora of living a daily, outwardly ordinary life while remaining internally bound to a homeland in crisis. The experience of teaching, working, and moving through professional space exists alongside an ongoing awareness of loss, where the weight of what is happening to loved ones is continuously present, though often unseen. Attaran’s practice centers women’s lives, domestic space, and acts of care as sites of political meaning. Her work confronts violence sustained through patriarchal power, religious authoritarianism, and the laws of an extreme Islamist regime, while holding space for the resilience of those living within it. Addressing particularly Western audiences, the work calls attention to life under state-enforced Sharia law, where rights are known yet systematically denied. Rejecting ideology, it insists instead on lived experience and the ongoing pursuit of dignity, safety, and self-determination. Rooted in devotion to her homeland and its people, this work is an act of love. It asks viewers to witness, to remain with discomfort, and to recognize that this violence is not distant, but ongoing. Mahsa Attaran is an Iranian-born visual artist, photographer, and educator whose work explores culture, gender, and belonging through memory, exile, and domestic archives. Working across photography, video, installation, and conceptual wearables, she often uses the archive to preserve and reframe women’s histories. Her work has been exhibited internationally, including at the Iranian Artists Forum in Tehran, Ball & Socket Arts in Cheshire, TheatreWorks in Hartford, and The Sue & Eugene Mercy Jr. Gallery in Windsor, and has been featured in publications such as Hyperallergic and Midbrow. As an Iranian woman in exile, Attaran is committed to witnessing and refusing silence in the face of political violence and human rights abuses. She also leads workshops and talks that encourage critical engagement with social justice, memory, and responsibility. Attaran holds an MFA in Studio Art from the University of Connecticut and teaches on the Visual Arts faculty at The Loomis Chaffee School. https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1784640581146-6XK4JRM5QO6QMZ4SDSAS/masha_attaran_ely2.png On View and Upcoming - Mahsa Attaran: Dark Dey https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1784640581134-0N1GDLDJJKB9JY5K47HH/masha_attaran_install_1.png On View and Upcoming - Mahsa Attaran: Dark Dey https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1784640582217-UKC5MEQ8YIWFM6KVBH1P/masha_darkdey_install.png On View and Upcoming - Mahsa Attaran: Dark Dey https://www.elycenter.org/calendar-1/reconstructing-realities monthly 0.5 2026-06-29 https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1782749345857-09MPVU9EVVAAWI8Z9YHD/RR+image.webp On View and Upcoming - Reconstructing Realities https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1782749346183-6MEG2EXR423MD7PNAXHX/RR+image+4.webp On View and Upcoming - Reconstructing Realities https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1782749347326-G6BRH3TMQ7D4HPGE2D33/RR+image+3.webp On View and Upcoming - Reconstructing Realities https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1782749347427-FTD7WO6KWXXCP28WIQ8J/RR+image+2.webp On View and Upcoming - Reconstructing Realities https://www.elycenter.org/concerts daily 0.75 2026-07-24 https://www.elycenter.org/concerts/derek-piotr monthly 0.5 2026-06-29 https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/7717796d-bc14-4bec-babe-36eebf546ad5/derek.webp Concerts - Derek Piotr - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://www.elycenter.org/concerts/media-compost monthly 0.5 2026-06-29 https://www.elycenter.org/concerts/weird-music-night monthly 0.5 2026-06-29 https://www.elycenter.org/concerts/what-do-we-have-to-lose-but-our-chains monthly 0.5 2026-06-29 https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/c7845e4d-c88e-41f9-9829-0e5739056f9b/1000025484.webp Concerts - WHAT DO WE HAVE TO LOSE BUT OUR CHAINS Help us close out the current exhibitions with an Audio/Visual performance, improv and discussion! Organized by Kit Young, curator of Restructuring Realities on view through July 5. Featuring: Nate Hill Andrei Jay Kit Young https://www.elycenter.org/keyhole-cohorts daily 0.75 2026-07-28 https://www.elycenter.org/keyhole-cohorts/fall-2025-cohort monthly 0.5 2026-07-28 https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785279711066-9YS52URGY7SU4AKP96K5/DIANA.webp Keyhole Cohorts - Fall 2025 Cohort https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785279711157-OW9ZEF0SDEBKZR8VPB4B/ecoca-fall2025KeyholeAnnouncement-Dario-portrait.webp Keyhole Cohorts - Fall 2025 Cohort https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785279712143-PJZ27N27PLO3KAVJ35FP/ecoca-fall2025KeyholeAnnouncement-Lauren-portrait.webp Keyhole Cohorts - Fall 2025 Cohort https://www.elycenter.org/keyhole-cohorts/spring2026 monthly 0.5 2026-07-28 https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1782859812685-ALA7QRVEMFXHP81HBM73/parastoo.webp Keyhole Cohorts - Spring 2026 Cohort https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1783436429442-HX65MX3CQAEUPWN7A1W9/parastoo+info.webp Keyhole Cohorts - Spring 2026 Cohort https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1783436429854-K5NSWK2YAN4WMO8F031X/parastoo+work.webp Keyhole Cohorts - Spring 2026 Cohort https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1782859811661-LBCC8M3T64NOXF3L023N/ciara.webp Keyhole Cohorts - Spring 2026 Cohort https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1783436428461-SAZSITWH8BOOZK8YCTDY/ciara+info.webp Keyhole Cohorts - Spring 2026 Cohort https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1783436428786-IOD4A9HRNIQVVAE7B5KS/ciara+work.webp Keyhole Cohorts - Spring 2026 Cohort https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1782859811458-Q1ROK1ULLOBRZA5D2S9A/aura.webp Keyhole Cohorts - Spring 2026 Cohort https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1783436427448-BBXQQ8NAOKJ6WX226D09/aura+info.webp Keyhole Cohorts - Spring 2026 Cohort https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1783436427492-KULC2X8RXHN010AFX7TS/aura+work.webp Keyhole Cohorts - Spring 2026 Cohort https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1784303071172-UQ50WQQPAY7S5TEYJV3C/ecoca-AuraWang-Solo-Fllier-Opening.jpg Keyhole Cohorts - Spring 2026 Cohort https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1784303071301-9JOCILQRWBK9ID555Y6Z/ecoca-Keira-Solo-Fllier-Opening+copy.jpg Keyhole Cohorts - Spring 2026 Cohort https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1784303073103-GYN1HWYMBMSC0QZSORMJ/ecoca-ParastooAhovan-Solo-Fllier-Opening.jpg Keyhole Cohorts - Spring 2026 Cohort https://www.elycenter.org/sap-cohort-archive daily 0.75 2026-07-23 https://www.elycenter.org/sap-cohort-archive/sap-2024-every-piece-is-part-of-the-whole monthly 0.5 2026-07-23 https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/5910ac97-071c-49d8-ba83-e7cdd242ccb3/SAP_2024_1.webp SAP Cohort Archive - SAP 2024 - Every Piece is Part of the Whole - Artist + Assistant Destiny Palmer Perla Mabel Students David Coardes Joey Esposito River Ferrucci Adrian Gonzalez Ellianna Hunte Solace Khuc Soleil Nelson Alivia Patterson Dezirae Pollard Manny Pollard Merlin Shallow July 8-26, 2024 https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1784814962711-APVTT3JHAUE921HLZJN4/Final%2Bdraft%2BSAP%2BBrochure%2Bfor%2BFriday_Page_1.jpg SAP Cohort Archive - SAP 2024 - Every Piece is Part of the Whole https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1784814962690-0E39L3A8WBB8JLZXXW2L/Final%2Bdraft%2BSAP%2BBrochure%2Bfor%2BFriday_Page_2.jpg SAP Cohort Archive - SAP 2024 - Every Piece is Part of the Whole https://www.elycenter.org/sap-cohort-archive/sap-2025-born-yesterday monthly 0.5 2026-07-23 https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/c3e64d5b-880f-4390-9f8c-ec8df0867993/SAP%2B2025.webp SAP Cohort Archive - SAP 2025 - Born Yesterday - Born Yesterday Summer Apprenticeship Program 2025 Artist Lauren Flaaen Students Shilo Aceto Roberto Luis Santos Correa Jalyana Cuevas Lara Kaczmarczyk Rita Llumipanta Soleil Blossom Nelson Mack Oren Mendieta Elliot Theodore Peterson Justin Stephen Reilly Katrina Reyes Summer Victoria July 7-27, 2025 https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1784814468586-YYX060K0FRFT0ZLD7L62/2025_SAP_Pamphlet_Outer.webp SAP Cohort Archive - SAP 2025 - Born Yesterday https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1784814468553-VQ8LDR6MS70615IWDYJA/2025_SAP_Pamphlet_Inner.webp SAP Cohort Archive - SAP 2025 - Born Yesterday https://www.elycenter.org/archive-1 daily 0.75 2026-07-28 https://www.elycenter.org/archive-1/love-struck monthly 0.5 2026-07-27 https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/dfdf5e43-18f1-4004-bf09-c69a1371b666/love-struck.webp Archive - Love-Struck - February 1- March 31, 2024 Curated by: Juliet Byrne Love-Struck is themed around Valentine’s Day with an overall focus on love. It hopes to acknowledge the abundance of love around us and the many forms it comes in. Valentine’s Day emphasizes the romantic side of love, but that isn’t the only type of love worth celebrating. Love comes from many other places: self love, love for our family and friends, love for the world and the people in it. That’s why this show emphasizes being grateful for all love. Cherishing the loving relationships in our lives is central to our humanity and our togetherness. Matt Becker, Sandra Cavanagh, MUCA, Courtney Dudley, Shelley Feinerman, Soule Golden, Danny Huff, Ali Hval, Agnes Jackiewicz, Patrice Lorenz, Lauri MacLean, Pol Morton, Lake Newton, Tim Nighswander, André Kit Ramos, Claudia Renfro, Alisa Sokolov, Ariana Stoll, J Suyi, Johnny Taylor, Thuan Vu, Cindy Zaglin. https://www.elycenter.org/archive-1/colorless monthly 0.5 2026-07-28 https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/2cf27420-2a1b-4c4a-a821-ebda18221086/colorless-pencil-illustration-michelle-szabo.webp Archive - color(less) - June 16 - August 17, 2024 Curated by Michelle Szabo Opening reception, Sunday, June 23, 2024, 3-5pm Q&A with the curator on Sunday, August 4, 2024, 3pm As I was thinking about this exhibit and ECOCA's overarching focus on environmental impact this year, I started thinking about a less talked-about pollution that we humans produce called light pollution. Light brings us many things including the ability to see color, color being the reflection of light. If there is little light, or extreme bright light, we see less saturation of color or more brightness of color until it becomes either black or white, respectively. But artificial light can wreak havoc on many living creatures by disrupting natural light/dark cycles and circadian rhythms. In animals, this can be disruptive to their instinctual behaviors and physical well-being (e.g., migratory patterns, breeding, growth, sight, nighttime sanctuaries). In humans, it can lead to psychological and physical disorders that can be life-threatening (e.g., sleep disorders, depression, heart disease, cancer). As you look through the images in this exhibition and their minimal or no use of color, think about how we need light to perceive color. You can even do a simple test by turning down the brightness of your computer monitor and noticing how much color is lost in an image. Do the images below speak to you despite using little or no color? In the same way that we can get by with less color in art, can we get by with less artificial light in our environments, particularly during our naturally darker hours? By reducing light pollution, we can help ourselves and other living creatures return to their natural rhythms and live healthier lives. https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785166696918-M4P3HN7VMF2QLGU1THI8/meg-bloom-mountain-mouring.webp Archive - color(less) - Meg Bloom, "Mountain Mouring" Handmade abaca paper pulp, embedded sycamore bark, 2024, 48" x 36" x 6" https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785166696941-I2V8R4NONXCYPV2S5FQP/marissa-bridge-garden-boogie-woogie.webp Archive - color(less) - Marissa Bridge, "Garden Boogie Woogie" Mixed media composed of paper, 2023, 30" x 24" x 4" https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785199298155-GMQ8CQFYXX0WD6JEEKMR/almudena-fernandez-vicens-untitled-I.webp Archive - color(less) - Almudena Fernandez Vicens, "Untitled 1" Mixed media, 2023, 24" x 24" FOR SALE https://elycenter.org/ecoca-objects/almudena-fernandez-vicens-untitled-1 https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785199298221-HCWWI09I17X5E004M4ZT/jessica-fallis-the-hidden-grove.webp Archive - color(less) - Jessica Fallis, "The Hidden Grove" Woodcut, 2023, 36" x 24" FOR SALE https://elycenter.org/ecoca-objects/jessica-fallis-the-hidden-grove https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785270162638-8C67U2RS7OVPMXXXVJ7K/kraig-binkowski-early-morning-walk-in-the-snow.webp Archive - color(less) - Kraig Binkowski, "Early Morning Walk in the Snow" 2-color woodcut, 2023, 25" x 17" https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785270587392-F27P06BG8AYEOJ2WNHA8/william-evertson-consumed-by-the-never-was.webp Archive - color(less) - William Evertson, "Consumed by the Never Was" Consumed by the Never Was shows a family consumed by nostalgia created by media but, for most of us, never existed. The longing is perpetuated by a politicized media ecosystem that profits from a mythological culture war. Woodblock, 2022, 32" x 44" FOR SALE https://elycenter.org/ecoca-objects/william-evertson-consumed-by-the-never-was https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785270709983-FUYFUZEA4U3RNGLVL25P/leslie-landau-momentary-III.webp Archive - color(less) - Leslie Landau, "Momentary III" Pastel, 2023, 18" x 18" FOR SALE https://elycenter.org/ecoca-objects/leslie-landau-momentary-iii https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785270772627-H9XQUSQLU4M27R1PIOX6/wayne-toepp-half-night-3.webp Archive - color(less) - Wayne Toepp, "Half Night 3" Atmospheric rendering fading light at dusk. Oil on canvas, 2023, 34" x 30" FOR SALE https://elycenter.org/ecoca-objects/wayne-toepp-half-night-3 https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785271191398-4U41VVZAGIUSGDMS8ZI8/sheila-squillante-a-mind-of-winter-III.webp Archive - color(less) - Sheila Squillante, "A Mind of Winter III" Inspired by the Wallce Stevens poem, "The Snow Man," this piece explores the whited-out landscape of January, the kind of cold that brittles our bones, and both the estrangement and comfort to be found in natural isolation. In the poet's own words, it evokes the nothing that is not there and the nothing that is. Acrylic on paper, 2024, 9" x 12" https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785271294992-4KRSTODML8OPFE73WKIA/kathleen-demeo-uprising.webp Archive - color(less) - Kathleen DeMeo, "Uprising" Monotype, 14" x 18" (framed) https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785271705959-3F065RMXB5O4R6K7OYYZ/maureen-murray-petals.jpeg Archive - color(less) - Maureen Murray, "Petals" Oil on canvas, 2022, 12" x 12" https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785271759462-IP3E0K8QBC46E40ELSNW/daria-rozina-out-of-the-circle.jpeg Archive - color(less) - Daria Rozina, "Out of the Circle" Collage, 2021 https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785271820919-QHV39KSWVQTYFMRLJ7L1/lily-prince-rise.jpeg Archive - color(less) - Lily Prince, "Rise" India ink marker on Arches paper, 2023, 22" x 24" https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785271870520-UPF00Z5R187XBCL3W0U4/barin-osho-semi-automatic.jpeg Archive - color(less) - Barin Osho, "Semi-Automatic" ‘Semi-Automatic’ is an evocative exploration of the dichotomy between the instinct to maintain control and the courage required to embrace vulnerability. This painting is a testament to the artist’s struggle with the paradox of control — a wrestle with the fear of uncertainty and the allure of God's unknown paths. With each deliberate yet intuitive brushstroke, the artist navigates through a spectrum of emotions, depicting the oscillation between the comfort of command and the liberation that comes with trusting the journey. This piece serves as a reminder of the delicate balance between guiding one’s course and yielding to the natural flow of life. ‘Semi-Automatic’ challenges the viewer to reflect on the ebb and flow of autonomy and acceptance, and the profound tranquillity found in the embrace of life’s inherent unpredictability. Acrylic and charcoal on canvas, 2024, 24" x 36" https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785271922810-O5QBVZES4B39QJSEPL95/amo-zhou-the-true-romance.jpeg Archive - color(less) - Amo Zhou, "The True Romance" Colored pencil and ink on paper, 2023, 11" x 14" https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785271967619-FSHZ4SBXPOSU2YCF3KFS/jean-benoit-in-the-groove.jpeg Archive - color(less) - Jean Benoit, "In the Groove" "In The Groove" captures a soulful moment of a musician lost in the melodic notes of his trumpet with the city’s energy subtly reflected in the background. The piece exudes a sense of tranquility and inspiration, celebrating the universal language of music. Oil on canvas, 2023, 48" x 30" https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785272068010-Q371RC6B6IHHV039M5MY/ok-labs-davids-meltdown.jpeg Archive - color(less) - OK Labs, "David's Meltdown" David's Meltdown presents a digital and 2D reinterpretation of Michelangelo's David, an essential representation of humanity’s cultural heritage. However, in this rendition, David is depicted melting and it is a poignant commentary on the pressing issue of global warming. This creation serves as a powerful reminder that the consequences of modern society and human interventions in nature reverberate through time, affecting not only the present but also shaping our past and future. By portraying David's meltdown, the artwork vividly illustrates the profound impact of rising global temperatures on human history, urging viewers to contemplate our collective responsibility in confronting climate change. Digital, 2024, 27" x 27" https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785272505615-MSHEMD3SWU5NMWKMN0HG/melissa-fournier-gaze.jpeg Archive - color(less) - Melissa Fournier, "Gaze" Charcoal on paper, 2023, 7" x 7" https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785272576702-E1H003RIUC4X8OZI4JAR/bdbr041-loon-feathers-reshoot%281%29.jpeg Archive - color(less) - Natale Adgnot, "Loon Feathers (Crazy as a Loon)" This artwork is part of my series entitled Bird Brains. This series of sculptures is a glossary of logical fallacies and biases that are so pervasive they have inspired sayings, stories, or metaphors. “Bird Brains” matches entries in the cognitive bias codex with the birds that best exemplify them. From black swan theory – a mistaken belief that something is impossible – to the duck test (“if it swims like a duck…”), to the proverbial canary in the coal mine, I tap into colloquial language to highlight the ways we misconstrue the world. Sumi ink, gold thread on cotton tape, cotton muslin, 2023, 28" x 21.5" x 2" https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785272667619-M3TT848H0EY84BVECY16/molly-burt-westvig-weve-been-better.jpeg Archive - color(less) - Molly Burt Westvig, "Honestly, We've Been Better" Glitched digital jacquard weaving, 2023, 28" x 90" https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785273032563-FSL99ZHT79185CA7PWZY/heather-stoltz-innocence-lost.jpeg Archive - color(less) - Heather Stoltz, "Innocence Lost" Cotton Fabrics and Threads, 2018, 44" x 36" https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785273087608-X1PU15KVDTD4XVOZFG4V/leora-armstrong-tree-murmur.jpeg Archive - color(less) - Leora Armstrong, "Tree Murmur" Oak Gall Ink Wind Drawing on Arches Paper, 2024, 17" x 14" https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785273162300-GV4ZCVRNTQXUQWJPE5JF/jayoung-yoon-sensing-thought-07.jpeg Archive - color(less) - Jayoung Yoon, "Sensing Thought 07" In meditation teachings, it is often said that our thoughts are like clouds passing through the sky. Meditation helps to observe thoughts and memories without judging. In this sculpture, I created semi-translucent clouds from woven hair, wrapping them around thorn fragments to envision thought clouds and fragments of memory. Artist’s hair, thorn fragment wrapped with hair, 2022, 6" x 13" x 5" https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785273249039-6KT9DQ4KDYG223EWCD54/jennifer-cadoff-sky-tapestry.jpeg Archive - color(less) - Jennifer Cadoff, "Sky Tapestry 3" The Sky Tapestry series of drawings each begins with a grid, drawn freehand, with ragged thread-like edge lines of varying lengths. The grid is then filled in with dense scribble, leaving small random open areas between the "threads" that come to resemble stars in a night sky. Ink on 140-pound hot-press watercolor paper, 2019, 45" x 45" https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785273302040-3077NLKJUAA70AX7ALOC/sharon-cheuk-wun-lee-rice-series-doll.jpeg Archive - color(less) - Sharon Cheuk Wun Lee, "Barbie (Rice Series Doll)" A made-in-Hong-Kong Barbie was found on ebay, one of my research tool on expanded archive looking into the plastic export in the colonial era. The Barbie was moulded with rice and re-cast in light. Archival inkjet print on paper, rice, light box, A.P. 1/1, 2024, 38" x 52" https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785273340034-WVFT9EYBE5SVKYZJCNL9/qarthian-imbolc.jpeg Archive - color(less) - Qarthian, "Imbolc" Salt crystals on wool, 2023, 17" x 6" x 3.5" https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785273391558-VQVYHCE260HTATFYRCU4/madeline-veira-entangle-series-3.jpeg Archive - color(less) - Madeline Veira, "Entangle Series 3" Monoprint of synthetic hair, 2020, 19" x 14" https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785273433621-CZZFW8DWSDT6I6BIGEV0/ryan-van-der-hout-exodus.jpeg Archive - color(less) - Ryan Van Der Hout, "Exodus" Steel and Stainless Steel, 2023, Size Varies https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785273485371-4E40RUHX5YKASCGLRBTX/jocelyn-russell-waterscape-landscape-1.jpeg Archive - color(less) - Jocelyn Russell, "Waterscape Landscape" Porcelain, underglaze high fire glaze, 2023, 11" x 16" x 4" https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785273528671-KCOAKDABITAANAY6BLF0/zach-dunn-water-bowls.jpeg Archive - color(less) - Zach Dunn, "Water Bowls" Reduction fired stoneware with applied glaze, 2024, Various sizes https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785273586893-TBO4TKMWSM6RG6NSIA8Z/cullen-curtis-the-luminous-and-the-gray-patched-gradient.jpeg Archive - color(less) - Cullen Curtis, "The Luminous and the Gray (Patched Gradient)" This painting was made using two overlapping color charts. Each tile is painted according to the chart and then is stuck to the painting with thickly applied acrylic paint. The spaces between the tiles were "patched" afterward with white acrylic paint loaded into a caulk gun. Acrylic on panel, 2021, 24x18 https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785273806800-RZON1QPTJQRB8BO2IKXX/hilary-bachelder-haunt.jpeg Archive - color(less) - Hilary Bachelder, "Haunt" Photomontage on archival pigment print, 2024, 13" x 19" (unframed) 20" x 24" (framed) https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785273939970-P9DFI9MBAKUYQBYTIYBJ/alcy-hart-eradicated.jpeg Archive - color(less) - Alcy Hart, "Eradicated" Tape on canvas, 2023, 36" x 24" https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785273988654-K3D59CNSVNOQIIZVAAXL/lynn-sullivan-crv-grey.jpeg Archive - color(less) - Lynn Sullivan, "CRV (Grey)" Polymer clay, paint, 2023, 4" x 4" x 1/4" https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785274146917-ZSTW8OBSTOHO2O08JPV1/janine-brown-mothers-recipe.jpeg Archive - color(less) - Janine Brown, "Mother's Recipe" In this work, I return to the science of home economics by cooking a biorubber material from ingredients in the pantry which I mix with paper pulp created from my cookbooks and children’s cookbooks. Growing up in the Midwest, my mother used to make mother/daughter outfits and role-play with me using dolls. These acts were her recipe to create a good housewife for the future. Homemade bio-rubber, adult and children's cookbooks, crochet thread, and Magic Erasers, 2023, 50" x 60" x 5" https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785274181620-9ZL4PPEG1W9WQMN0D1X8/erman-inbound.jpeg Archive - color(less) - ERMAN, "Inbound" Hand-cut and painted paper, suspended installation, 2017 https://www.elycenter.org/archive-1/flex monthly 0.5 2026-07-27 https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/a4d57ac4-706e-4d94-ae3e-53924d6c8dc6/ecoca-newhavenpride-FLEX%2Bcopy.png Archive - FLEX:// - Exhibition Dates: June 20 -August 31, 2025 The Ely Center of Contemporary Art is proud to present FLEX://, curated by JLS Gangwisch. Best viewed on a computer. To celebrate Pride 2025 the Ely Center of Contemporary Art and the New Haven Pride Center partner to launch MUSCLE, an intermedia exhibition of artworks by local and regional artists featuring the vitality of the LGBTQIA+ community. FLEX:// is the sister exhibition of MUSCLE and is the first exhibition in a relaunch of Digital Grace, the Ely Center’s online exhibition space, now with an instagram account that will feature interviews with the artists! The interviews will be released throughout the run of the exhibition. Follow the new Instagram account HERE. These works articulate social power. They are evidence of both personal and collective gains made through determination, will, and grit. They remind us of voluminous resistance to adversity alongside the constant, quiet, domestic assertion of an authentic life. They illustrate the transmutability of our bodies and our bodies politic. They demonstrate lives lived openly, freely, and truthfully. They are tinged with past violences and future threats. They demonstrate the diversity of our community while speaking to our solidarity, our shared vision, and our united desires. They invite us to play with each other, to work together. 2025 is a year that demands muscle. This moment calls us to exercise our authenticity, flex our coordinated joy, and balance the tension of being too seen with the bravery of allowing ourselves to be seen. Pride celebrations were born out of resistance; through resistance we build and exhibit MUSCLE, our powerful creative strength. -JLS Gangwisch https://www.elycenter.org/fall-2025-keyhole daily 0.75 2026-07-28 https://www.elycenter.org/fall-2025-keyhole/dario-mohr-ensconced monthly 0.5 2026-07-28 https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/32270936-8fd1-4989-abd9-baa8b5fda4c9/ecoca-square-feb8-opening-KEYHOLE-DarioMohr-v3-sm%2Bcopy%2B2.webp Fall 2025 Keyhole - Dario Mohr: Ensconced - Opening Reception: Sunday, February 8, 1-3pm This exhibition brings together a body of work that reconsiders objects of display: architectural fixtures, vessels, and framing devices as mechanisms through which visibility, desire, and power have historically been negotiated. Drawing from the formal language of sconces, the works examine how bodies are illuminated, elevated, or concealed, and how these gestures continue to shape contemporary ways of seeing. The term sconce originates from the Old French esconce and the Latin absconsa, meaning “to conceal” or “a hiding place.” Historically, sconces were designed to hold light while obscuring its source, producing controlled illumination that shaped interiors and the bodies within them. In this exhibition, illuminated window-block sculptures house painted nude Black male figures, refracted through glass and lit from above. The figures exist in a suspended state, visible yet mediated, where illumination becomes both an offering and a constraint. Light functions not as a neutral tool, but as an active force that frames the body through histories of surveillance, desire, and selective visibility. This inquiry extends into vessel-based works that draw from the lineage of trophies. Once understood as monuments of conquest and “prizes of war,” trophies transformed domination into object form. By reworking these shapes without naming them directly, the vessels in this exhibition shift away from triumph toward intimacy, asking what it means to hold presence, memory, and embodiment rather than victory. Together, the works position familiar forms: fixtures, containers, architectural fragmentsas thresholds rather than endpoints. They invite viewers to consider how systems of display shape meaning, and how Black male bodies, in particular, have been illuminated, obscured, or monumentalized under inherited visual regimes. The exhibition does not seek to resolve these tensions, but to hold them in light, allowing concealment and revelation to coexist, and opening space for new ways of seeing, lingering, and encountering the body. https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785281006050-5TTYZ90QO7AKJNQ0RHFU/Dario_ecoca_sm.webp Fall 2025 Keyhole - Dario Mohr: Ensconced https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785281006072-5YT6262OP5XXIQXTWYM9/Ely%2BFeb26%2B9255%2Bcopy-sm.webp Fall 2025 Keyhole - Dario Mohr: Ensconced https://www.elycenter.org/fall-2025-keyhole/lauren-flaaen-small-tears-cuts-and-scribbles monthly 0.5 2026-07-28 https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/8c45d67f-a47e-433f-a9a1-73e55b1d0043/ecoca-square-feb8-opening-KEYHOLE-LaurenFlaaen-sm%2Bcopy%2B2.webp Fall 2025 Keyhole - Lauren Flaaen: small tears, cuts and scribbles - Opening Reception: Sunday, February 8, 1-3pm My artistic practice centers around transforming everyday objects into anthropomorphic forms, where the material world splits and reconverges, entangling matter to flow, move, and propel forward. I cut, snip, paint, construct, integrate found objects, building materials, and manipulate steel into corporeal assemblages. This process responds to the embodied and disembodied experiences inscribed with societal expectations and norms. Through exploring an aesthetic of repulsion and attraction, my work holds the tension between fragility and strength, trauma and renewal, and tenderness and violence. It reflects how knowledge and understanding are intertwined with history, culture, and power. -Flaaen https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785280769601-P95976W3XED1K0IW7YWK/Ely%2BFeb26%2B9102%2Bcopy-sm.webp Fall 2025 Keyhole - Lauren Flaaen: small tears, cuts and scribbles https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785280769597-B2DQVDLAFHKJZNW95PBL/Ely%2BFeb26%2B9108%2B9113%2Bcopy-sm.webp Fall 2025 Keyhole - Lauren Flaaen: small tears, cuts and scribbles https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785280770622-6QA8U8QUFU0G5WZ2HO0S/Ely%2BFeb26%2B9118%2B9124%2Bcopysm.webp Fall 2025 Keyhole - Lauren Flaaen: small tears, cuts and scribbles https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785280770746-7YMXLD9RWYQ29U2Y7G88/Ely%2BFeb26%2B9130%2B9138%2Bcopy-sm.webp Fall 2025 Keyhole - Lauren Flaaen: small tears, cuts and scribbles https://www.elycenter.org/fall-2025-keyhole/diana-abouchacra-what-remains-tied-bound-in-belonging monthly 0.5 2026-07-28 https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/5be49946-adbb-420f-a5fa-ccc0607f8109/ecoca-square-feb8-opening-KEYHOLE-DianaAbouchacra-sm%2Bcopy%2B2.webp Fall 2025 Keyhole - Diana Abouchacra - What Remains Tied: Bound in Belonging - Opening Reception: Sunday, February 8, 1-3pm Art making is an intuitive exploration for me, a way to investigate memory and process emotions. Themes of belonging, ephemerality, multiplicity, and transformation recur throughout my work. Repetition and layering act as both process and structure, creating a meditative, reflective rhythm. In my practice, I examine how moments of interaction can be translated into tangible form and how process and method generate expanded meaning. What Remains Tied, Bound in Belonging is an installation that explores the relationship between emotion, memory, and belonging — how these elements shift over time and become intertwined with our present experiences. Hanging from the ceiling are long spiral twist ties inspired by my discovery of bread ties from my late mother’s kitchen drawer. Collected from family, friends, and newly gathered sources, these ties function as material traces of memory and feeling, made tangible through their form and varied colors. Made into long spiral coils - what I refer to as “memory ties’ - their structure suggests continuation, growth, and interconnectedness. While audio echoes throughout the space, home videos of my childhood project across the room, fragmented by suspended paper rolls, fabric, and memory ties. The resulting moving images reflect the subjective nature of memory, some moments resurface vividly while others soften or fade away. The installation becomes a site of accumulation, suggesting that wholeness and belonging are not found intact but gradually built - layered over time. https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785280101050-VQFD0QCSBTPSCN0OOZAS/Diana-ely_sm.webp Fall 2025 Keyhole - Diana Abouchacra - What Remains Tied: Bound in Belonging https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1785280101062-UM44DZ6KF0QDBLMIXFOP/Ely%2BFeb26%2B9220%2Bcopy-sm.webp Fall 2025 Keyhole - Diana Abouchacra - What Remains Tied: Bound in Belonging https://www.elycenter.org/home daily 1.0 2026-07-28 https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/6b75db9a-c614-486e-97be-c6fe993a610e/Family+Yoga+IG.png https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/74e521ff-d945-4c73-a74c-968b03a839c5/KAYCE-Keyhole%2BWorkspace%2BArtist-in-Residence%2BProgram%2B1%281%29%2Bcopy.webp https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/58101005-cf69-41c1-8f5b-81870253b4d5/IMG_0183+2.jpeg https://www.elycenter.org/who-we-are daily 0.75 2026-07-28 https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/fd7d6236-8219-4778-9b55-6d8072c540e9/Aaron+Headshot+2+Small+File+Size.jpg Who We Are https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/45b29801-a6f4-412c-afb2-7eff8d76da9c/Clara-Nartey-at-Crown-Gallery.webp Who We Are https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/421705a8-5178-4724-8b0d-635031b4e15f/AdrianaHdzBergstrom-2020.jpg Who We Are https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/688bdfa3-6589-470c-b6e4-48a80c8578b6/image1%288%29.jpg Who We Are https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/8aed433d-7468-4842-9486-46e608f855e4/Amy+Kundrat.jpg Who We Are 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https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/29c68662-448d-4539-99e5-9ce7902f4285/ecoca-digitalgrace-testlogo_01%281%29.webp https://www.elycenter.org/ecoca-news daily 0.75 2026-07-25 https://www.elycenter.org/looking-back-in-front-of-me daily 0.75 2026-07-28 https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/e7c4f981-31e1-45c2-9b21-f6f2ac6a4ce3/001+title+wall.jpg LOOKING BACK IN FRONT OF ME https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/7ea9d13a-ecae-4c8e-91ca-b78be6bb1bf0/002+nick+lee+linda+colette.jpg LOOKING BACK IN FRONT OF ME LEFT: Nick Lee RIGHT: Linda Colleta LEFT: Untitled (Hollowing) no. 1, 2025, inkjet print(s) on newsprint, wheatpaste, wood "LOOKING BACK IN FRONT OF ME" (500 words or less): I incorporate sculpture, materiality, and alternative processes with my photography, looking to expand the photograph outside of its traditional two-dimensional form. The materials I work with start raw and unscathed; they carry their own weight and meaning. Through additive processes, they begin to hold a trace. Through subtractive processes, I wash parts away, rip them apart, looking at what remains. The works become recordings, evidence of living, stained artifacts. I search for processes that echo themes of exposure and obscurity that are tethered within my photographs. Wheatpaste posters undergo a continuous cycle of application and removal. Reapplication hides what lives underneath, only to be torn down again, revealing what exists beneath the surface. My internal exploration becomes physical as I tear and reapply layers of my photographs, searching for what lies underneath. The image merges together, holding both the past and the present. https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/76a8f0bf-8e05-4b91-a3d1-2ef5b86342ca/003+linda+coletta.jpg LOOKING BACK IN FRONT OF ME Linda Colletta Snake Eyes, 2024, Acrylic on canvas, LED light I approach weaving as a painter first. That distinction drives everything. I pool diluted acrylic paint onto raw canvas, building translucent, filmy layers over weeks, then tear the dried surface into narrow bands, fracturing the paint, fraying the edges, and weave them onto stretcher bars. The result is a painting that is also an object, structural and skin-like, that collapses the boundary between the picture plane and three-dimensional space. I came to weaving in 2020, this was a traumatic year for all of us, I felt helpless and needed a way to feel productive and healing. I needed to use my hands in a way that was slow, deliberate, and embodied. The repetitive, accumulative labor of weaving became its own argument. Weaving, embroidery, and quilting have been categorized as women's work: invisible, domestic, decorative. I am interested in claiming these traditions as painting, insisting that this way of making is as rigorous and charged as anything on a gallery wall. My primary influences are Sam Gilliam, who freed the canvas from the stretcher; Helen Frankenthaler, whose poured surfaces used color as environment; and Rauschenberg, who collapsed the boundary between painting and the ordinary world. My woven paintings extend all three: painting as object, color as time, material as message. The broader lineage I work within is the feminist reclamation of craft, in the tradition of Harmony Hammond's wrapped forms, Magdalena Abakanowicz's fiber environments, and Faith Ringgold's story quilts. I am interested in the imperfect. Every torn edge and irregular weave is a deliberate record of human making. The evidence of a body at work is not a flaw, it is a fingerprint. This work cannot be automated, templated, or replicated. That is not incidental to the work. It is the argument. The urgency of the handmade is, for me, both formal and political. David Batchelor's concept of chromophobia, the cultural impulse that codes whiteness as rational and orderly while marking color as vulgar, feminine, and excessive, is central to my thinking. I work with color as provocation, as something that has historically been denied and controlled, particularly in domestic and feminine contexts. Color, in my work, carries historical weight. It is a record of what has been suppressed. Each of my woven paintings is double-sided. The back is as important as the face. I am interested in what is hidden, what is contained, what is made to face the floor. My hand must remain visible throughout. The materiality of the work is the message. Recently, since I began weaving, my work has moved into deeply conceptual territory, addressing conformism, capitalism, colonialism, and the ongoing erosion of women's rights and basic freedoms. The ideas are outpacing what I can make. My research is focused on the history of weaving as women's work, on chromophobia and its uses as a tool of social control, on invisible labor, and on what it means to insist on the handmade in this particular moment. https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/fce46f30-9087-4d21-8dd0-77cd867c4af8/004+j+s+hostman.jpg LOOKING BACK IN FRONT OF ME JS Horseman UPPER: צור (Tzur {Elke}, 2015/2025, oil on linen/panel LOWER: Churning Formantions; Breath Machine, 2020-2025, Clay, Concrete, Straw, Beeswax, Ash, Resin, Vinyl Record, Sound, Light JS-Horseman (ירמיהו) is a multidisciplinary artist who specializes in experimental music and audio(tape, modular synths, and field recordings)with visual arts like painting, installation, and sculpture. His work explores themes of human evolution, technology, and memory, often incorporating Jewish mystical elements."With a spectrum of visual and sonic languages, materials, and processes, I navigate a world of multidimensional storytelling, human evolution and world conflict amid our digital, A.I. era. With this, my work confronts concepts of creation and destruction, trauma and hope, preservation and renewal. https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/4b0c23e0-e835-46ee-aa78-1708091fbcdd/005+albanda+sohn+leah+king.jpg LOOKING BACK IN FRONT OF ME LEFT: Leah King RIGHT: Abenda Sohn Leah King This piece, SPINE (Uncle Dolly with the Washington Bears, 1943) is part of a series titled “If It Wasn’t For His Color, He’d Be a Sure Bet.” The works feature newspaper cutouts of my great uncle Dolly King and his teammates in the segregation-era National Basketball League. Abenda Sohn Untitled #1 Ventilation, 2026, Found Wood, mesh window screen My work explores migration, inheritance, and the emotional distance created through displacement. Drawing from my relationship with my father in Liberia, I use sculpture, video, installation, and found materials to examine how memory, labor, and care are transmitted across borders and generations. Everyday actions such as planting, building, waiting, or learning a mundane task become gestures that carry absence, longing, and attempts at connection. Materials such as corrugated steel, soil, wood, coffee, and domestic objects act as fragments of place and lived experience. I am interested in how these materials hold both physical and emotional histories, particularly in relation to temporary shelter, protection, migration, and reconstruction. Through repetition and reconstruction, the work reflects on what is preserved, lost, or transformed when one is separated from home, family, or cultural memory. For the show "LOOKING BACK IN FRONT OF ME," the artwork explores how the past continues to influence the present. It addresses the challenge of rebuilding in a new place and contemplates which fragments of home can be reimagined to evoke a constantly changing environment. This process involves reconciling with memories and small remnants of the past. "Looking back at me" represents a form of self-reflection as well as a reexamination of one's identity in relation to memory and place. https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/06265203-8424-47e3-bbfc-7344721f65a7/006+downty+%26.jpg LOOKING BACK IN FRONT OF ME Cameron Patricia Downey https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/6ecb5ec0-0073-4110-9fe2-b76ac6865bfd/006b+downey.jpg LOOKING BACK IN FRONT OF ME Cameron Patricia Downey Company, 2025, hair, metal, acrylic Cameron Patricia Downey (b. Minneapolis, MniSóta Makoce) is an antidisciplinary artist whose work oscillates between sculpture, print, film, body and otherwise. Peering into the private lives of objects, seeing instruction in the incidental and the misremembered, Downey’s work strives to unfurl, make-altar-of and lend fantasy to the Blues of Black life and relation. Adornments gather in glamorous community, crowding around their spectres; communion sought with objects themselves. Central for Downey is a belief that form is not just a record keeper, but a philosophy of feeling. The thing is the way. https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/7b2641e9-362a-4d9d-83c5-ed5cbfb64663/007+downey+and+RENADETTE_processing20220613-4-1m3qpcz.jpg LOOKING BACK IN FRONT OF ME Cameron Patricia Downey https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/f1a15a11-4572-419d-a9d2-0a56bba84adb/007b+bozhkov.jpg LOOKING BACK IN FRONT OF ME https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/1d2518a2-bbc2-42cc-b3ed-b606422615b8/008+downey+rocessing20251029-2-t5nxxd.jpg LOOKING BACK IN FRONT OF ME Cameron Patricia Downey Otherwise Than, leather Cameron Patricia Downey (b. Minneapolis, MniSóta Makoce) is an antidisciplinary artist whose work oscillates between sculpture, print, film, body and otherwise. Peering into the private lives of objects, seeing instruction in the incidental and the misremembered, Downey’s work strives to unfurl, make-altar-of and lend fantasy to the Blues of Black life and relation. Adornments gather in glamorous community, crowding around their spectres; communion sought with objects themselves. Central for Downey is a belief that form is not just a record keeper, but a philosophy of feeling. The thing is the way. https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/ccf3584d-6cae-440a-bbc3-2587b7a843c9/009+cole-weiss_9574c670.jpg LOOKING BACK IN FRONT OF ME Annaliese Cole-Weiss Fall Catalog, 2025, video My work spans the use of clay, video, installation, and movement-based practices to explore gender, performance, the function of the archive, and our systems capacity for uncertainty and change. My practice explores the connective tissue between sculpture and movement as a pathway toward radical queer embodiment. This inquiry is in response to observing increasing apathy and disconnection within an over-digitalized world, and to a curiosity about in what ways we can pressurize systems already at play in order to reveal their malleability, and expose our agency. I am drawn to in-between spaces — sites that resist either/or binaries and instead hold multiple truths, engage slippage, and prioritize ambivalence. Working within these middle grounds shows how capacious they can be. My practice interrogates the physical, epistemological, and social structures that dictate how bodies are permitted to move through the world. My queer identity functions as an intrinsic lens through which I approach material and form, attuning me to coded systems, fluidity, and the power of recontextualization. Materially, I juxtapose hard logics of the grid, fired ceramic, and legibility with the mutable qualities of raw clay, projection, performance and illegibility. Through these combinations, I create works that function as pathways toward embodiment — structures that imply, invite, and record movement while proposing alternative forms of documentation and non-linear experiences of time. Using strategies of camouflage and opacity, conventions of material, scale, and temporality compress and dissolve while a queer archive emerges, in particular one which deprioritizes transparency and longevity, and instead prioritizes ephemerality and illegibility. At its core, my practice asks what structures are already operating within material space and time, and how bringing them into being through sculpture, performance, and the body as material might reveal their capacity for adaptability, and truth-telling. fall catalog is a work which explores a movement score of ‘falling and performing falling.’ The score is operating as a binary norm that will have to be negotiated in the making of the work, leading to inevitable failure. The dichotomous score of ‘falling and performing falling’ is set up so that the movement lands somewhere in-between. In this video there are clips of me falling as a result of a genuine interaction between the weight of my body, gravity, and my inability to remain upright, and falling as a result of me performing what I believe it might look like to fall, evoking the idea of performance as camouflage and self defense for people holding queer identities. There are also moments in between where the movement started as one response to the score and ended up as another, either due to the other changing conditions of the physical environment or due to the manipulation that happened in the editing process. Inside imposing a score that proposes a binary, the most prevalent, frequent, and authentic movements that emerge are ones in-between. This work invites a cyclical interpretation of the relationship between different modes of performance, where multiple modes start to influence each other, further complicate the middle, and capture the nuance of what it looks like to adapt to changing conditions. https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/87848aa9-6081-4e63-a8ce-d44cc327aa17/010+nick+lee+video.jpg LOOKING BACK IN FRONT OF ME https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/16c8ef7f-1d15-4f14-a638-5dae2c2c25ad/011+ali+haval.jpg LOOKING BACK IN FRONT OF ME Ali Hval Eye Spies (Installation View), 2026, ceramic, acrylic, rhinestones, holographic vinyl, beads, mural Growing up in the southern US, being surrounded by rigid expectations of what it meant to be a “proper” woman was the norm. My work challenges such ideals, using femininity to reveal the politicization of the female body, and considering how politics causes women to navigate private and public spaces. Using clay, I create sculptures that echo oversized pieces of jewelry, shoes, and domestic objects. Built from high-fired stoneware and embellished with materials like rhinestones and nail polish, these pieces playfully seek attention. Each piece speaks in its own voice--excessive, unabashedly hyper-feminine, and most importantly, pink--with an exaggerated scale that invites viewers to imagine wearing or interacting with them. The weight of these objects, combined with the fragility of ceramics, reveals how decisions regarding bodily autonomy places heavy burdens on the wearer. They twist the way we see: at first, sparkling and whimsical, but upon closer inspection, more sinister. https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/3ec1f615-96d8-4433-ab00-a29ddfaf16c3/012+colletta+and+renadette.jpg LOOKING BACK IN FRONT OF ME LEFT: Linda Colletta RIGHT: Alicia Renadette LEFT: scratch and sniff I RIGHT: Imprint https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/e0237c8d-b147-4820-9269-be5e77064970/013+renadette.jpg LOOKING BACK IN FRONT OF ME Alicia Renadette Imprint, 2025, Modified wicker plant stand, sheer cream curtain, communion veil, leftover white ceiling paint I gather found and foisted objects connected to childhood, comfort, and celebration from neighborhood curbside piles and friends. I transform them, along with banal and functional domestic objects, into otherworldly sculptures that embody themes of struggle and determination, materialism and connection, and layers and accumulation. My sculptures often combine ornate, commemorative and monumental forms of temples, altars, tiered cakes, ice cream sundaes, with images of microorganisms, microhabitats like webs and nests, biological and botanical systems, particulates, and speculative biomorphic or supernatural entities. These complex and layered forms imagine and reveal the unseen peripheral, subliminal, and energetic presences covertly harbored in our materially cluttered, or carefully curated, homes, bodies, minds and culture. Built around a scaffolding made from dismantled furniture, bases and stands, these objects that were meant to provide structure and stability now serve as off-kilter armatures and porous cages. https://www.elycenter.org/store daily 0.75 https://www.elycenter.org/store/p/family-yoga-at-the-ely-center monthly 0.5 2026-07-23 https://images.squarespace-cdn.com/content/v1/6a417a47899a2a08dea2089e/f05701a6-d0be-4ce8-ba26-2c1f7b2a3498/Family+Yoga+IG.png Store - Family Yoga at The Ely Center - Family Yoga IG.png