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    • Poolside Barbecue 2017 - 18
    • The Ragged Girl 2017 - 18
    • A Cold Wind From the Mountains 2017
    • A Cold Wind from the Mountains 2012 - 16
    • California Dreamin' 2015
    • The Gift of Shit 2014
    • Absent Friends 2013 - 14
    • Bones in the River 2012 - 13
    • Family 2012
    • Hungry Ghosts 2012
    • The Ladies of Shalott 2010
    • Watercolours Queens 2008 - 10
    • Collages 2009
    • Im Wartezimmer 2009 - 10
    • Austrian Men 2008 - 10
    • Queens 2007 - 9
    • My Grandmother's House 2006 - 7
  • Texts
    • Considering Art - interview with Bob Chaundy July 2021
    • Artist's statement 2015
    • From 'Picturing People'
    • A Coruscating Eye
    • Hibernia
    • The Ladies of Shalott
    • Im Wartezimmer
    • A Cold Wind From The Mountains
  • CV
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Eleanor Moreton

  • home
  • Enter
  • Recent work 2024 - 25
    • Illuminations
    • Veil
    • My Octopus Lover
    • Miracles
    • Crossings
    • Surrey Homes
    • Jubilee Hotel
  • Work 2006 - 23
    • The Stranger 2023
    • WinterFlower 2021
    • Hibernia 2021
    • Hibernia works on paper 2021
    • Hunting the Wodewose 2019 - 20
    • Limerence 2019
    • Into the Meadow of Certainty 2018 - 19
    • Poolside Barbecue 2017 - 18
    • The Ragged Girl 2017 - 18
    • A Cold Wind From the Mountains 2017
    • A Cold Wind from the Mountains 2012 - 16
    • California Dreamin' 2015
    • The Gift of Shit 2014
    • Absent Friends 2013 - 14
    • Bones in the River 2012 - 13
    • Family 2012
    • Hungry Ghosts 2012
    • The Ladies of Shalott 2010
    • Watercolours Queens 2008 - 10
    • Collages 2009
    • Im Wartezimmer 2009 - 10
    • Austrian Men 2008 - 10
    • Queens 2007 - 9
    • My Grandmother's House 2006 - 7
  • Texts
    • Considering Art - interview with Bob Chaundy July 2021
    • Artist's statement 2015
    • From 'Picturing People'
    • A Coruscating Eye
    • Hibernia
    • The Ladies of Shalott
    • Im Wartezimmer
    • A Cold Wind From The Mountains
  • CV
  • Contact
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The Pea Children and Illuminations

The Green Children of Woolpit is a story from Suffolk which describes two green children, brother and sister, who appeared in the village of Woolpit, speaking an unknown language and eating only broad beans. The story is first recorded in the late 12th / early 13th century. So soon after the Norman invasion, could it describe the experience of having strangers in a Saxon land?

The Illuminations return to a world of English and Northern European folk traditions, faerie painting and botanical art. With references to the female hysterics of the Paris Saltpetrière, Till Eulenspiegl, the silhouettes of Lotte Reiniger, Old English folk tales and Edwardian women illustrators. This is a world of intuition and anti-reason. It is possibly a world more inhabited by women.

 In part these paintings manifest my own wish to explore my imagination. But also they refer back to my interest in Englishness and the English imagination.

In that way, they are linked to the Surrey Homes paintings which are also about the English dream. And the Edwardian painters and illustrators, Margaret Tarrant and Helen Allingham, whose work I have referred to in the past and in these paintings, were both based in Surrey.

 EM 2025

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