Elliott Puckette is a contemporary artist best known for her minimalist compositions of lines and monochromatic backgrounds. Elliott creates works filled with billowing calligraphic lines that she carves with razor blades and covers with gesso and ink, creating canvasses filled with movement that seem to have a life of their own. Her work occasionally still takes shots for being too decorative, too pretty. Elliott replies, "That's always been something I've had to speak up for. You have to be brave to try to make something beautiful. A lot of people are afraid of it. Ugly seems more edgy. There always has to be a nasty barb at the end, some sort of irony. I'm just not like that."
Elliott, who is represented by the Paul Kasmin Gallery, has been featured and/or reviewed in Interview Magazine, Architectural Digest, Introspective Magazine, Art in America, Artforum, Art + Auction, The Tennessee Historical Quarterly, Art & Text, The New Yorker, The New York Times, Elle Décor, and Vogue. She and her husband, artist Hugo Guinness, were featured recently in The Tiffany & Co.'s The Silver Cup Project. Renowned for her beautiful and expressive designs, Elliott's works are summed up perfectly by The New Yorker:
"(Puckette's) undulating, sassily flouncing lines mimic milk swirling in coffee, smoke rising, and clouds moving – the artist cites Constable's skies as an influence. Their curvy, razor-incised calligraphy can also look, up close, like Arabic or a colorful John Cage score, though it is Puckette's great pleasure to mimic the conventions of script without actually offering anything to read."Elliott received her BFA from Cooper Union in New York and has been showing her work, in both solo and group exhibitions, since 1992. In addition to nearly 30 shows in galleries from Los Angeles to London, she is also represented in public collections in the Fogg Art Museum, the Huntsville Museum of Art, New York Public Library, and the Whitney Museum of American Art. Her large-scale painting, The Locust and the Bird, which evokes the curvature of the body, musical notes and 19th century adornment, hangs across the street from the World Trade Center site in the lobby of Brookfield Place.