Eleanor Morgan is an artist and writer who uses printmaking, video, drawing and sculpture to explore materials and processes of making across species. This has included teaching ants to draw self-portraits, making a diamond from the dead creatures of the River Thames and serenading spiders. Her illustrated book, Gossamer Days: spiders, humans and their threads (Strange Attractor Press: 2016) explores the history of the human uses of spider silk and the human entanglement with spiders. From gun sights to sticky tunics via acoustic lures, royal underwear and the mystery of the disappearing spider goats, Gossamer Days tells the tales of what happens when one making animal meets another.
Eleanor has received funding from the Daiwa Anglo-Japanese foundation, the Leverhulme Trust, the Royal Institute of British Architects and the Arts and Humanities Research Council. Selected exhibitions and performances include Print Dept.Division of Labour (2017), Jerwood Drawing prize (2016), Glass Delusions, Grant Museum of Zoology (2015) A labour of Moles, DOCUMENTA 13 (2012) and she co-curated the large interdisciplinary exhibition Life of Clay at RIBA London (2016). In addition to her individual practice, she often works with other artists, museum curators, scientists and engineers to create site-specific works. Eleanor is a member of the collaborative print group The Printers’ Symphony. They can be found walking across England with their portable print studios (converted army bags) on their backs, printing up a tree, by the beach, and rubbing the Bank of England. Working collaboratively with artist Sam Curtis on the project How to rub a fish, she has run fish rubbing workshops at the Ikon Gallery, the Institute of Making and Sluice art fair. She is currently writing and making work about stickiness.