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Chloe Elliott on Muck Rack

Chloe Elliott

(She/Her)
Cambridge, England, York
As seen in: Vail Daily, Poetry Review, Aesthetica Magazine, Palatinate (newspaper), Aesthetica, Fort Frances Times, Ink Sweat and Tears, Corridor8
MPhil @HoArt_cambridge / New Poets Prize 2022 / ‘encyclopaedia’ @poetrybusiness / tactile and scrap fragments /🍊 views my own

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Articles

Art is Ours, Mine and Yours! Assunta and Lou Art Club

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By Elspeth Mitchell, Jessica Piette, Chloe Elliott
| Corridor8 Verified
The gallery space is draped in textiles onto which bright paint marks, drawn shapes, figures and faces have been printed. Gathered on the floor, on a colourful quilt scattered with cushions, people of all ages make use of pastels, felt tips, pencils and watercolour paint on squares of paper that are then affixed to the drapery. Jars of water and paint brushes are dotted around, and a digital printer-copier sits within reach.
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Charlotte Dawson: If Memory Serves Me Well

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By Chloe Elliott, Megan Jones, Orla Foster
| Corridor8 Verified
During the late eighteenth and nineteenth centuries, Methodism grew rapidly across Britain, driven in part by itinerant preaching as well as its appeal among newly industrial working-class communities. The religion was characterised by a social kind of holiness, one that involved open-air preaching, small group meetings based around spiritual growth and mutual accountability called ‘class meetings’, and something known as a ‘love feast’.
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Cecil Beaton: Staging Icons

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By Amy Kitchingman, Chloe Elliott, Catriona McAra
| Corridor8 Verified
Truman Capote once remarked that his friend Cecil Beaton was ‘a total self-creation’. This is certainly the stance taken in Harewood House’s collaborative exhibition with the National Portrait Gallery, Cecil Beaton: Staging Icons. Cecil Beaton is remembered as much for his personality as his multi-hyphenate artistic talents, thanks to his glittering social circle and waspish sense of humour.
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