Elvis Richardson

Portrait of the artist, Elvis Richardson, sitting in a garden wearing a white button up shirt  

Treasuring the intimacies of ordinary lives, Richardson collects and curates personalised objects and imagery she extracts from public sources and re-constructs them as the raw materials of her studio practice. Her works employ accidental and formalist approaches to disrupt the everyday commodification’s of lifestyle and satirically expose the promises, disappointments, and contradictions that we all live with.  

Recent exhibitions include Settlement and the Gatekeepers, Hugo Michell Gallery, Adelaide (2020), Force Fields, Kyneton Contemporary Art Triennial (2018); Unfinished Business: Perspectives on art and feminism, Australian Centre for Contemporary Art, Melbourne (2018); Versus Rodin: Bodies across space and time, Art Gallery of South Australia (2017); CCP Declares: On the Social Contract, Centre for Contemporary Photography, Melbourne (2016); Octopus 15: Lost and Profound, Gertrude Contemporary, Melbourne (2015); and Transmission: Legacies of The Television Age, National Gallery of Victoria (2015).   Richardson is the founding editor of CoUNTess, a blog publishing data on gender representation in the Australian visual arts sector which re-launched as The Countess Report (www.countess.report) in 2017 in collaboration with Amy Prcevich and Miranda Samuels.   Richardson has been the director of a number of artist run initiatives including First Draft (96/97), Ocular Lab (2008/09) DEATH BE KIND (2010/12) and True Estate (2017/18).