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David Elliott, Crazy Studio, 1980.

David Elliot
From September 8th 1980 to September 27th 1980
Exposition solo / Solo exhibition

"Imagine a stage cluttered with props... simple things... boxes, 2X4's, ropes, wooden supports, mirrors, some artificial flowers.
Imagine that it is pitch black. The house lights are down and perhaps, even the curtains are closed. And yet, you can see the objects on the stage; see them like an X-ray, right through the curtain, as though each item had a spot light trained on it.
Now things begin to happen. Bricks and boxes shift. There is a good deal of bumping about. Some of the objects cluster together in stable, little lumps. Others seem to be falling. Ropes become taut pulling canvas awnings and backdrops into place.
The more things move, the more confused it becomes. Mirrors and flats serve to complicate your sense of perspective. Just when you think that you've got it right, it shifts somewhere else.
Sparks sputter and spew from a Roman candle. Pinwheels can be seen moving through all of this, like Giotto's angels through some cock-eyed architecture."
- Internal document (Optica) : artist statement

"[...]Returning once again to the subject of pricing, it is too bad that Lynn Hughes and David Elliot, the young artists exhibiting at Optica, have not even bothered to post the prices of their works.
It's a good thing we have Canada Council-founded parallel galleries like Optica that can exhibit new art without having to worry about selling to survive. But not listing the prices gives the impression that the artists couldn't care less about selling.
The gallery staff (who don't know the prices themselves) will put you in touch with the artists if you express an interest. But many people, for instance those who might be interested in filing away comparative price information for future reference, simply don't bother to do this. Selling contemporary art is hard enough. Why make it harder?
Having said this, I must add that unless the prices are low, I would not imagine this show would attract too many buyers (though the Art Bank has bought Hughes.) [...] Elliot's works, which are all similar, are like painted drawings. White outlines on black or red backgrounds depict scrambles of objects which the artist's notes compare to stage props—artificial flowers, mirrors, stage flats, etc. They are painted with honest professional flair.
But Elliott's works have relatively little lasting visual appeal and they lack the depth that can compensate for the absence of such appeal. Elliott's sculpture assemblage, including a painted wooden plant, spiky green leaves and all, shows a wittier side of his undoubted talents."
- Nixon, Virginia, "(...) American Show Simple, Refreshing", The Gazette, 13 septembre 1980, p.57.

Bibliographie
- Nixon, Virginia, «(...) American Show Simple, Refreshing», The Gazette, 13 septembre 1980, p.57.