Elizabeth Addison is a Berkeley, California-based visual artist, curator, and educator whose works are included in numerous private and public collections. Her primary media include printmaking, installation, and digital media. Ms. Addison’s work has been featured at SOMArts, The California Endowment, SF Federal Reserve, The Brower Center, Marin Foundation, Abrams Claghorn Gallery, Arc Gallery SF, Bankhead Center for Performing Arts, Claudia Chapline Gallery, The Institute of Noetic Sciences, O’Hanlon Center, Berkeley Civic Center, Kala Art Institute, The University of Wisconsin, Giles Gallery - Eastern Kentucky University, John F. Kennedy University Gallery, Gearbox Gallery, Transmission Gallery, Pacific Pinball Museum, Addison Street Windows, Artworks Downtown and Oakopolis. She is an Artist-in-Residence at Kala Art Institute, NCWCA’s (Northern California Women’s Caucus for Art) Exhibition’s Chair, and a member of both the Bay Area Women’s Artists Legacy Project and WEAD (Women Eco Artists Dialog.)
Connections between the microscopic and cosmic conjure the mysterious, sometimes the divine. I investigate these relationships and their interconnections at the crossroads of art, dreams, and science.
I am a visual artist, but I’m also a storyteller, seeker, and amateur scientist. I continually experiment with methods, mediums, and modes of perception. My practice encompasses printmaking, installation, and digital media. However, my first love is printmaking. It is the bedrock of my practice and I always return to the analog monoprint when investigating a creative path.
I incorporate methods such as paper litho and sculptural printmaking–both of which I've adapted into signature techniques. My prints are constructions. They are built of multiple layers, or passes, that bury and reveal imagery, texture, and data–allowing me to be an artist, storyteller, and experimenter simultaneously.
My early figurative monoprints are an outgrowth of–and a subversive reaction to–my years in advertising. I was eager to have a break from the computer which felt restrictive, inauthentic, and limiting in expression. So I immersed myself in monotype and analog techniques. These works interpret vintage advertising images of women to unveil hidden, feminine stories behind the stereotypes.
My current inspiration flows from the dream world and its intersection with science and nature. I developed a unique process at this nexus, The Creative Investigation. These are cohesive series that include visual art, writing, installation, and multi-media. When inspiration strikes, I am compelled to examine, study and explore. Sometimes new imagery “speaks” or instructs me. As strange as it sounds, there are divine elements. I don’t embrace this unrealistically, but as an artist, that’s what I want to convey. I want to put the viewer in that dream state, within a story, at an unlikely intersection.
I am particularly satisfied with my long-term relationship with SOMArts Annual Día De Los Muertos Exhibition, curated by René Yañez and his son, Rio. For almost two decades I have created immersive installations investigating miracles, greed, the environment, myth, gentrification, and goddesses. This yearly event has been a touchstone.
Elizabeth Addison, 2022