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Celia Eberle | The Flesh of Trees, 4.1.23 - 5.5.23

Celia Eberle | The Flesh of Trees

4.1.23 - 5.5.23

Celia Eberle | The Flesh of Trees, 4.1.23 - 5.5.23

Celia Eberle | The Flesh of Trees

4.1.23 - 5.5.23

Celia Eberle | The Flesh of Trees, 4.1.23 - 5.5.23

Celia Eberle | The Flesh of Trees

4.1.23 - 5.5.23

Celia Eberle | The Flesh of Trees, 4.1.23 - 5.5.23

Celia Eberle | The Flesh of Trees

4.1.23 - 5.5.23

Celia Eberle | The Flesh of Trees, 4.1.23 - 5.5.23

Celia Eberle | The Flesh of Trees

4.1.23 - 5.5.23

Celia Eberle | The Flesh of Trees, 4.1.23 - 5.5.23

Celia Eberle | The Flesh of Trees

4.1.23 - 5.5.23

Celia Eberle | The Flesh of Trees, 4.1.23 - 5.5.23

Celia Eberle | The Flesh of Trees

4.1.23 - 5.5.23

Celia Eberle | The Flesh of Trees, 4.1.23 - 5.5.23

Celia Eberle | The Flesh of Trees

4.1.23 - 5.5.23

Celia Eberle | The Flesh of Trees, 4.1.23 - 5.5.23

Celia Eberle | The Flesh of Trees

4.1.23 - 5.5.23

Celia Eberle | The Flesh of Trees, 4.1.23 - 5.5.23

Celia Eberle | The Flesh of Trees

4.1.23 - 5.5.23

Celia Eberle | The Flesh of Trees, 4.1.23 - 5.5.23

Celia Eberle | The Flesh of Trees

4.1.23 - 5.5.23

Press Release

Celia Eberle’s new body of work explores natural and human-made cycles and the universal truths that underlie the human experience across time. As in much of her oeuvre, natural and found materials prevail. Made by deftly manipulating pimento-wood veneer, much of the new work conveys an apparent lightness that belies its materiality. A diaphanous figure arises from whorled patterns—ethereal, mysterious, and spirited—and the burled wood grain forms an arresting, flame-like green and russet aureole. Birds can seem to be sages. Horses, too, emerge like mirages. Her world teems with figures that hover between categories of universal and particular and nudge the viewer to consider ideas of genesis and destiny. The current series presents a critique and warning about the fragility of an unstable landscape but, conversely, the possibility of symbiosis—a reminder that things can be different. Eberle’s work frames nature, both fluid and fractured, manipulated and whole. In so doing, it asks us to look at ourselves and entertain the radical notion that we may have the answers to our deepest philosophical questions at our fingertips, if we pierce the veil and simply choose to see them.

Celia Eberle has exhibited extensively throughout Texas as well as in Chicago, New York, and Oregon. Most recently, Eberle was awarded The Adolph and Esther Gottlieb Foundation’s Individual Support Grant. Eberle was also awarded the Joan Mitchell Foundation Grant. Likewise, she is an inaugural recipient of the Nasher Sculpture Center Artist Microgrant, as well as the Dozier Travel Grant from the Dallas Museum of Art. Eberle’s mid-career retrospective, In the Garden of Ozymandias, debuted at the Art Museum of Southeast Texas. In 2022, Eberle was chosen to exhibit Waiting for Robot at the Nasher Sculpture Center in the Nasher Public program. Her work will also soon be on display in Fort Worth as part of the Blind Alley Projects as well as the Contemporary at Blue Star in the Summer of 2024. Eberle is currently in the collections of The Dallas Museum of Art, the J. Wayne Stark University Gallery at Texas A&M, the Longview Museum of Fine Arts, the Art Museum of Southeast Texas, and San Antonio Museum of Art.

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