These are artifacts from a culture that assumes there is no difference between past, present and future. Basic needs and desires, and all that is associated with them, remain constant. This practical and philosophical position provides a viewpoint through which to construct or position the imagery, filtered through a sense of resignation tinged with humor.
By placing appropriated images in another context while elevating created images to the same plane, I am imagining a perspective outside normative attitudes concerning progress, technology and the environment. This is the “culture” I have affected. Referencing the work as “artifacts” or “fake artifacts” is intended to emphasize the illusion of multiple hands and approaches, multiple sources and time frames. This opens the door to the pursuit of meaning on many levels and allows for a collision of materials and methods. The use of traditional materials mimics historicity. The use of flotsam proffers immediate recognition.
Artist Bio / CV
Celia Eberle considers herself an observer, having lived in small towns all her life. Her professional record spans nearly twenty years with work that has frequently garnered critical attention. She has had ten solo exhibits and has been included in sixteen juried or curated exhibits in the last ten years. Her work is included in Texas Artists Today, Marquand Books, 2010. In 2007, she completed a residency in sculpture at the School of Visual Arts, New York. She was also awarded a residency at the Commerce Street Artists Warehouse in Houston in 2005. Other awards include the Otis and Velma Dozier Travel Grant from the Dallas Museum of Art in 2002, a Merit Award from the Friends of the Contemporary Artists Center, North Adams, Massachusetts in 1996, and an M-AA/NEA Fellowship in 1994. She was honored with nominations for the Arthouse Texas Prize in 2005 and 2007.
Born and educated in Texas, Celia was awarded a scholarship by the Texas Fine Arts Association (now Arthouse) in high school. She was a member of the historic 500X cooperative gallery of Dallas from 1987 to 1991.
Some of Eberle’s installations have invited audience participation. On different occasions she has created a large, two-story maze representing the bowels of god, a tongue-shaped lounge chair, and a giant paw that can be worn over the body. Her current choice of carving stone, bone and other traditional materials, often combined with found objects, dovetails with her pursuit of immutability within the human experience.