• home
  • Enter
  • Recent work
    • 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

Eleanor Moreton

  • home
  • Enter
  • Recent work
    • 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
20250703_171136 (1).jpeg
IMG_7911 (1).jpeg
IMG_7912 (1).jpeg
IMG_7916 (1).jpeg
IMG_7904 (1).jpeg
20250823_182007 (1).jpeg
IMG_7903 (1).jpeg

Home

Veil

I went to Bulgaria in 2018 and, crossing the country by bus, was surprised to enter a region with village mosques and Muslim country women in long dresses working in the fields. I later learned that these were a Bulgarian minority people – the ‘Pomaks’. Some of these images come from their elaborate wedding preparations.

Whilst on one level, the story that’s forming in these paintings is of the transaction that is marriage, on a deeper level I am thinking about the veil and its meanings. I am struck by the way a veil separates the wearer from the world around, makes them unseen (and unheard). In another way, the wearer is turned inwards and can be attending to an interior world.  

EM 2025

Powered by Squarespace.