Ellen Driscoll's sculptures, drawings, and installations explore resource consumption and material lineage. Recent works include "Distant Mirrors," a floating archipelago of forms in the Providence River for 6 weeks in 2011. Co-produced with Waterfire, this work was created in partnership with the Roger Williams National Memorial and the Rhode Island Resources Recovery Corporation.
Her multi-part, multi-year project FASTFORWARDFOSSIL highlights the relationship between water and oil consumption and was displayed at the Smack Mellon Gallery in Brooklyn, NY, and Frederike Taylor Gallery, New York, NY.
Driscoll's previous work includes installations such as “The Loophole of Retreat” (Whitney Museum at Phillip Morris, 1991) and “Passionate Attitudes” (Threadwaxing Space, New York, 1995) and public art projects such as “As Above, So Below” for Grand Central Terminal — a suite of 20 mosaic and glass works for the tunnels at 45th, 47th, and 48th streets (1999), “Catching the Drift,” a women’s restroom for the Smith College Museum of Art (2003), and “Aqueous Humour,” a kinetic sculpture for the South Boston Maritime Park (2004).
Driscoll has been awarded fellowships from the Guggenheim Foundation, the National Endowment for the Arts, the New York Foundation for the Arts, the Massachusetts Cultural Council, Anonymous Was a Woman, the LEF Foundation, and Radcliffe’s Bunting Institute. Her work is included in major public and private collections such as the Metropolitan Museum of Art and the Whitney Museum of Art.
Driscoll is currently the head of the sculpture department at Rhode Island School of Design and she divides her time between Providence, Rhode Island, and Brooklyn, New York.
Above information is current as of November 2014.