An abstract painting of mustard, violet, and white spills with a white line curving up the center.

Elizabeth Neel

b. 1975

Born in Stowe, Vermont, 1975; Lives and works in Morristown, Vermont

I see my work as having a relationship to the visual world, not just some emotive residue of my feelings. It relates to something that exists, or might exist, rather than a transcendent mental state. — Elizabeth Neel



Elizabeth Neel
Salon 94 89th Street

Elizabeth Neel

In the Belly of the Whale
Various Small Fires

Elizabeth Neel


Neel’s practice encompasses painting, drawing, collage and sculpture. Her work is an exploration of the hypnotic and complex nuances of abstraction, of chaos in co-existence with order. Her expressionistic technique involves pouring, brushing, printing, rolling, folding and dragging acrylic paint onto un-stretched raw canvas. This method allows her to embrace both the deliberate and the unpredictable, manipulating our senses of texture, layers, and perspective with surprising color juxtaposition and unconventional uses of negative space. Neel’s lexicon of symbols evolve throughout each body of work and the mirrored shapes often seen in her work mimic the bilateral architecture of the body and its movement through our changing habitats. Her work contains a multitude of collective interpretations that contemplate what exists on the surface, and what is omitted. The granddaughter of American portrait painter Alice Neel, she has honed a practice over decades wherein literature, music, nature, movement, poetry and history surface on the canvas in unexpected ways, pushing against any single meaning or narrative.

Elizabeth Neel (b. 1975, Stowe, Vermont) received a B.F.A. from Brown University, Providence (1997) and an M.F.A. from Columbia University, New York (2007). Neel has had solo and group exhibitions around the world including In the Belly of the Whale with Salon 94 / Various Small Fires in Seoul (2020), Life in Halves, Susanne Vielmetter (2020), Nightjars and Allies, Pilar Corrias (2019), Tangled on the Serpent Chair, Mary Boone Gallery (2018); Claw Hammer, Susanne Vielmetter, Los Angeles Projects (2017); Vulture and Chicks, Pilar Corrias Gallery, London (2016); Lobster with Shell Game, Susanne Vielmetter, Los Angeles Projects (2015); The People, the Park, the Ornament, Pilar Corrias, London (2014); 3 and 4 before 2 and 5, Sikkema Jenkins & Co, New York (2013). Her work is in the permanent collections of Cornell Museum of Art, Syracuse, NY, Albright-Knox Museum, Buffalo, NY, and the Hammer Museum, Los Angeles.



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