Giles Eldridge
I M A G E S + T E X T

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First image - recent installation with Beatrice Von Babel art collective, at Craiova Museum of Art, Romania, 2023

Followed by :

Documentation of two exhibition installations:

1. Medusa, 2021

2. I'm becoming reasonable, 2020

Followed by:

Text regarding the studio

Résumé - exhibitions + projects

A selection of images

Medusa - installation at Suprainfinit gallery, Bucharest, 2021/2022
Oil on canvas, detail from Medusa
Mixed media, detail from Medusa
Gouache on board, detail from Medusa
M e d u s a

Thinking about the arbitrariness of abstraction

the studio is a space of speculation, the exhbition space a place of arrest

in the vitrine is one piece entitled Medusa made of 5 units/shelves comprising 12 works of differing references, materials and physical presence

items are presented and negated

glass shelves delineate the scenario, meaning it is the premise and limit of the space

the selection of works is arbitrary yet structures are formed

there is resonance and dissonance

the installation is specific, temporary and contingent, meaning it will not be shown in this format again.

the studio is one continual body of works

works are not made for an exhibition, they are used for an exhibition

the exhibition utilises items from this body: Medusa represents one such manifestation

but in fact it is a situation of images; more an event than an exhibtion

what is formed is a space that can be read; the viewer has something to read if they choose to do so

there is no metaphor or meaning

there is a situation to be engaged with, including the non-visual differences between images

this is not a series of works nor a themed exhibition, it is the result of a methodology

Medusa is the material presentation of images with no prescribed function other than the production of a space

alongside what they depict, the function of the works also resides in what they are doing

the images maintain agency.

Post Script:
Towards the end of the exhibition the large shelf fell and shattered; apparently caused by traffic vibration. On the same day, due to a cycling accident, I was unable to attend an event at the gallery, where I was to introduce the exhibition. I sent a version of the above text to be installed in the space instead. My assumption is that the shelf fell at the exact moment that my bicycle collided with the car outside my studio.

Installation photo (followed by details) of I'm becoming reasonable, shown in the group exhibition Storage Moods at the extraordinary space of the 'saltmine' at Suprainfinit gallery. Bucharest, 2020, photo - Sebastian Apostol / Polysemic Studio
What the Studio is

A continuing body of differing visual elements - drawing, photocollage, paintings, photographs, collected images and hybrids, articulated through varying styles and tropes. These works are then used to make temporary and contingent installations; these manifestations are the work proper. The operation of the work is situated somewhere within the differences between images even though each picture remains discreet and autonomous. Thus, rather than dealing with a substantial body of works the practice handles ideas around inconsistency, variabilty, movement, fluidity and negation. These works form a body of water rather than an archive - nothing is dated or titled, there is no necessarily significant content or meaning within each picture. The location of the work proper could be said to exist outside the pictures, i.e. no individual picture can sum up the Studio practice, the work proper only comes into being when it is shown in the varying contexts of specific installations. The important aspect is the relationship between items, which produces a space for reading, it is a situation.

The images used to make the drawings, paintings etc. all come from existing references such as photographs of paintings, events, objet d'art and so on, articulated in varying styles of execution. Alongside these pictures are works of improvised abstraction derived from a modernist methodology. I think of these as pseudo-abstraction or abstract paintings of the idea of abstract painting.

Terms such as old or new, large or small are redundant.

It is a discourse of fragmentation and an engagement with the arbitrary. It is gendered feminine; it is contrary to singularity. What is between, simultaneously connects and separates; it is a continual circular movement. Content and narrative possibilities are subjugated. Meaning does not even come into it. Irregularities and inconsistency are encouraged. Political potential is implicit. It is a situation of serial negation and the formation of agency.

Détournement and Studio Dérive

Paintings of paintings, drawings of objects, landscapes, portraits, pictures of sculpture, ethnographic references, abstraction, paintings of architecture…spheres and cubes.... photo-collage, photographs, combinations, hybrids and texts. In other words a cacophony of modernist tropes and conventions of painting, quoted ad infinitum using inconsistent and varying modes. The content of each image is not necessarily significant. It is the discrepancy between things that is the concern; the non-visible thing in-between. The individual images are, in a sense, of nothing, whilst of course never entirely losing their original reference. This is movement.

The images also produce a space where they are neither the thing nor the idea but operate upon their own rationale; the materiality of pictures. For this reason they have agency.


Giles Eldridge

Born in Sheffield, England, 1965

Lived in London, 1995 - 2014

Now living in București, România

Studio - Atelierele Malmaison

Art Education

Sheffield City Polytechnic, UK, 1990 – 1993 BA (Hons) Fine Art – Painting

Selected Exhibitions - Solo

Medusa, Sequence #7, Suprainfinit gallery, Bucharest, 2021/2022

Fără titul : Salon55, Bucharest, 2017

The Sea (a sea) : A5 Gallery, Bucharest, 2016

What happens if nothing happens : Vlad Basalici's Last Archive project, Gallery Tranzit, Bucharest, 21st Dec. 2015

Gold : Isolation Room / Gallery Kit, St. Louis, USA, 2011

Black : Gimpel Fils and The Agency Gallery, London, 2011

Above the Lunar surface : Nordisk Kunst Plattform, Brusand, Norway, 2010

Scratch against silence slow : Agency Gallery, London, 2010

Including doing nothing : Gimpel Fils Gallery, London, 2008

Non-Isotropic Drawings : Bloc Space, Sheffield, England, 2006

Atelier Gilles : Hat on Wall Gallery, London, 2003

Don't paint that gun at me : Tablet Gallery, London, 2000

Selected Exhibitions – Group

Beatrice von Babel, Romanian Cultural Institute, Venice April/May 2023

Știlștand / Stillstand, Beatrice von Babel, Craiova Museum of Art, Romania, March 2023

Under the House, Beatrice von Babel, Arcub exhibition space, Bucharest, April 2023

Storage Moods, Saltmine at Suprainfinit Gallery, Bucharest, 2020

Tenant #1, On Distance/s, 19 Doors Gallery, Bucharest, 2019

GEST, Dialogical graphics with Sylvia Trăistariu : Piatra Neamț Museum of Art, Romania, 2019

BEING MOUNTAINS, BEING SEAS : Lateral ArtSpace, Cluj, Romania, 2017

Recollection : with Frederick Bell, Dawn Woolley and Steven Scott, Ruimte Morguen Gallery, Antwerp, 2014

Photo and Print : selected by John Stezaker, Charlie Dutton Gallery, London, 2013

Trajector Intermezzo : Art Brussels project, hotel Bloom, Belgium, 2013

Again, a Time Machine, make the dead look living : Book Works' archive touring show : The Showroom, London, Torpedo, Oslo and White Columns, New York, 2012

Ship in the ocean : with Sadie Murdoch, Deptford X, Gallery Plots, London 2010

The Library of Babel : 176 Zabludowicz collection, London, 2010

Downstairs review Part 1 : Gimpel Fils, London, 2010

Faydun Bites : curated by Charlie Danby, Agency Gallery, London, 2009

Art Futures : Bloomberg SPACE, London, 2008

The Golden Record : Collective Gallery, Edinburgh, 2008

Peer Esteem : Five Years Gallery, London, 2007

Ausstellung : with Manfred Michl, Werketage Berlin, 2006

SVO4 : Studio Voltaire, London, 2004

Cast by inertia and the dorsal fin : W139 gallery, Amsterdam, 2000

Selected Projects + collaborations

Art Opening, group project at various non-gallery venues, Including Otopeni airport and Izvor Park, Bucharest, 2022

Double Decker, online project with Sandwich Gallery, Bucharest, 2020

Techno Fields, group performative project, Văcărești 'delta', Bucharest, 2020

What happens when something happens, text for Kristin Wenzel's installation The Near and the Elsewhere, Suprainfinit Gallery, Bucharest, 2020

APOS (so, we're all agreed), text for Kjersti Vetterstad's multidisciplinary project, The Lure Of Gold
Gallery Knipsu, Bergen, Norway, 2019

Techno Transa Body Beats, group dance project, National Dance Centre, Bucharest, 2019

Fete cu idei [Băieți și picturi] - Girls with ideas [Boys and painting]: curatorial project with Delia Popa at Lateral ArtSpace Cluj and ODD, Bucharest, Romania, 2016

Caii Manâncā anason : performative project with Iulia Sima and Georgiana Dobre at Homefest, Bucharest, 2016

Whisky that would benefit from a splash of water : performative dialogue with Ioana Gheorghiu, at Make a Point, Bucharest, 2014

Residency with Bucharest AiR, 2013

Lived in Cluj, Romania, 2010

Residency at Pilotprojekt, Gropiusstadt, Berlin, 2009

Residency on Langeland island, Denmark, 2007

Residency at ECC Ateliers, Berlin, 2006

Selected Publications

The Library of Babel / In and out of place, Ed. Anna-Catharina Gebbers,
Zabludowicz collection, London, 2010

The Happy Hypocrite , Issue 1, Ed. Maria Fusco,
Book Works, London, 2008

Celeste Art Prize exhibition catalogues,
Ed. Sara Pearce, 2006 and 2007

Selected Collections

British Airports Authority, Heathrow, London
Sheffield Hallam University, UK
Anita Zabludowicz Collection, London
Trinity Hall College, Cambridge
Book Works, London
Paul Smith Ltd. London
From here it is not the intention of this website to display documentation of the work. What is shown from now on is an indication of the work and thus an indication of the methodology.

For this reason nothing is titled, labelled or dated etc.

The following pictures are a selection from an ongoing production of small works in the studio : paintings, drawings, collage, digital collage, photographs, hybrids and includes some screenshots/film stills ripped from the Web. All works are small works - around A5 to A3.

For more information, questions or comments email - or Instagram -
If a building becomes architecture, then it is art
Wittgenstein : Tractatus Logico-Philosophicus. If I am to hide behind a text it could very well be this one.
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