Ed Pien, Haven, 2007 (detail), paper, ink, sound, video, live-cam, overhead projection, 900 x 600 x 430 cm. Courtesy the artist and Pierre-François Ouellette Art Contemporain, Montreal. Photograph: Richard-Max Tremblay
Monika Grzymala, Solex, 2009 (detail), adhesive tape, dimensions variable. Courtesy the artist and Drawing Room, London. Photograph: Monika Grzymala
Nipan Oranniwesna, City of Ghost, 2007 (detail), baby powder, wooden construction, fabric, bulbs, stencil maps and Plexiglass case, dimensions variable. Courtesy the artist and Osage Gallery, Hong Kong
Subhankar Banerjee, Caribou Migration I, 2002, from the ‘Oil and the Caribou’ series, digital chromogenic print face-mounted to Plexiglass, 218.44 x 172.72 cm. Courtesy the artist
Judy Watson, burnt vessels, 2009 (detail), found objects, glass shelf, dimensions variable. Courtesy the artist and Milani Gallery, Brisbane. Photograph: Carl Warner
Daan Roosegaarde, Dune, 2007–11 (detail), hundreds of fibres, steel, microphones, sensors, speakers, software and other media, dimensions variable. Courtesy Studio Roosegaarde. Photograph: Studio Roosegaarde. www.studioroosegaarde.net
About Angela Ellsworth
Born 1964 in Palo Alto, USA
Lives and works in Phoenix, USA
Angela Ellsworth is a multidisciplinary artist living and working in Phoenix, Arizona. Her drawings, paintings, installations and performances explore the female body in its various contexts and constraints. Aiming to connect the body with art, and public with private experience, her solo and collaborative artworks and performances have taken in such wide-ranging subjects as physical fitness, endurance, social ritual, religious tradition, performance art and American colonial history.Ellsworth refers to her rejected Mormon heritage in an elegant circle of antiquated pioneer women’s bonnets, Seer Bonnets: A Continuing Offense (2009–10), constructed out of thousands of pearl-tipped corsage pins with the points directed inwards. These small, beautiful, fetish-like objects not only refer to the tradition of craft work in the home – women’s work – but also stand as disembodied memorials to lives lived suffering cruelty, submission and control.