Group 2 Selections, 2016—

Joy and Woe, 2017—

Group 2 Selections, Color Test

Group 1 Selections, 1997—2013

“The wild card of the bunch is Elliott Wall…. His standout piece in the Insolitus show is Lyre Plyre… [he] twists the woman’s locks into an up-do that is part Cleopatra and part 1920s flapper encased in a baroque glass frame – so ersatz rococo it would be at home in a Tijuana watering hole or at least a self-consciously hip dive bar.”

from People are Strange by Casey Sanchez, Pasatiempo, December 17, 2010

“Wall follows the nineteenth century convention for figure studies involving a nude female, in which the model is portrayed as the guise of some classical goddess or mythic maiden…. The challenge to realist painting from photography, dating from the late nineteenth century, fades today in comparison with the mimetic capacity of digital technology to create and manipulate high-definition, 3-D imagery.  Perhaps the only effective response can be found in the work on view in Insolitus, one which is marked, in the approach of all three artists, by an overriding sense of creative control and an underlying concern for poetic import.”

from Insolitus: Suda/Cifuentes/Wall by Richard Tobin, THE Magazine, February 2011

“…Portland, Oregon, artist Elliott Wall’s No One Wants To See This explores sexuality and mortality with postmodern appropriation and esoteric references… a complex and provocative work.”

from Nine Artists Explore Human Expression by Carol Knowles, The Memphis Flyer, February 18, 2005

“Skill comes into play in a fashion that reaches for the sublime… The ambiguous conjunction of elements here is unsettling in its marriage of allure, eroticism, religion and incantation, all the more so because Wall’s technical agility… is utterly frictionless, almost luxurious.”

from A Splash of Great Painting by Fredric Koeppel, Commercial Appeal, January 21, 2005