Elizabeth Reed was born in Melbourne, 1983, under a waxing half-moon. A year later, she was diagnosed with profound deafness that gave her walls of silence to work on her imagination and art in peace. After graduating from the Victorian College of Arts with a BFA in Printmaking, Elizabeth became stuck in a desk jockey occupation. Three years later, Elizabeth quit and hired a studio to return to art, entering in group exhibitions. Elizabeth is currently studying for her Masters of Contemporary Art at the Victorian College of Art.
At first glance, everyday is filled with mundane routines and events. However, subtly change something upstairs in your neural network - and the world is transformed before your eyes. Art and science run so closely that they can become shadows of each other - science can determine a person's psychological reaction to an artwork, yet it cannot capture the essence that the artist has instilled in their work. As an occultist and an artist, I strive to find bridges between science and art, under the idea that 'art influences' and applying meta-quantum theories in conjunction with traditional occultism.
Symbolism and personal memories mate together to create a hermetic duality between the black ink and the white paper that I purchase from the local art store near my home. I look for elements of ritual in my autonomous methods of creation, with every stroke, scratch, spill becoming a fractal figure of its own. I invent allegories to apply to my work or to illustrate, demonstrating the power of stories and context. Experimentalism is critical in my work, though I often return to printmaking and its antique process that is so alike a ceremony in a religious setting. Even my drawings reflect the subtle hallmarks of prints with constraining frames, delicate line shading or starkly black shapes.