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2004 – 2006
New York Studio School, Studied with Graham Nickson

Parsons School of Design, Certificate in Graphic Design

Denison University, Bachelor of Fine Arts

Studio Arts Centers International, Florence Italy


New Work, Mixed Media, Solo Exhibition, 2 Rivington Street, New York, NY (April) 

3 Jurors = 3 Shows, Curated by Jason Andrew, Yevgeniga Baras and Fred Valentine, New York Studio School Alumni Show, New York, NY (August - September)
Art installation,141 Wooster, Solo Exhibition, 141 Wooster Street, New York, NY (April - May)
Between the Bridges, Works by Quogue and East Quogue Artists, Quogue Library Gallery, Quogue, NY (March)
Alphabet Project, Friends Seminary Art Auction, Group Exhibition and Auction, New York, NY (March)

Quogue Library Gallery, BOX + ART: An exhibit & auction of BOX art by East End artists. Group exhibition. Quogue, NY (November)
Alphabet Project, Friends Seminary Art Auction, Group Exhibition and Auction, New York, NY (March)

Quogue Library Gallery, Tray Jolie: and exhibit and auction of tray art by East End Artists. Group Exhibition, Quogue, NY (November)

Friends Seminary Art Auction, Alphabet Project, New York, NY

An Exhibition to Support Breast Cancer Awareness. Quogue Library Gallery, Group Exhibition. Quogue, NY (October)

Figurative bodies, National Arts Club, Group Exhibition, New York, NY (June)


Presenting Ellen Ball Curated by LOOC ART, Solo Show, Foundrae Showrooms, New York, NY (December)


Works held in private collections in: New York, NY; Brooklyn, NY; Quogue, NY; Saratoga, NY, New Canaan, CT Greenwich, CT; Portland, ME; Newport Beach, CA; Honolulu, Hawaii; Toronto, Ontario


Ellen Ball makes large-scale mixed media paintings rendered on Belgian linen, featuring iconic female forms, elaborate patterns, and inspired uses of metal leaf, cutting, collage, and oil paints.

Utilizing a self-discovered process, she works with found or appropriated imagery. She photoshops, cuts, collages, layers, or draws on these creating a new composition, which is then transferred onto canvas. This process leaves behind black ink and reveals a natural degradation. Provident imperfections occur and new shapes and textures present themselves. This creates a wholly original interpretation of the original. Often Ball adds oil paint, oil stick, reflective silver, lacquer, or gold leaf, connecting the tapestry-like patterning to the figure itself. The result is a highly textural surface, filled with visual tension and questions of interpretation. Deliberate juxtapositions and purposefully degraded, re-purposed imagery prompt questions about beauty, women, perfection, and issues surrounding contemporary icon “worship,” devotional imagery, and the pressures these put on 21st century women. 

Ball’s work is inspired by such contemporary artistic influences as Marilyn Minter, Mickalene Thomas, Christopher Wool, and Elizabeth Peyton but also stretches back to Warhol, Matisse, Botticelli, and the gold ground paintings of the early Renaissance. The work references graphic design, Arabic tiles and mosaics, fashion photography, and the barrage of disposable imagery in today’s media. All of these call to mind cultivated interpretations of perfection, beauty, the female form, sex symbols, icons, and idols. 

Ball’s background as a graphic designer and illustrator for the beauty industry influences her work and is evident in her choices of imagery and application. She searches for odalisques, concubines, sex symbols and lingerie models: women empowered or entrapped by their sheer womanliness. She is interested in the tension between our quest for, and worship of beauty, and the effects it has on women and society at large.