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econover
Eleanor Conover
Massive thanks to everyone who came to Independent, who engaged with the work, and who supported me these past few months. I so appreciate being able to balance the seriousness of discourse with the springtime levity of this life with you all. And a big thanks to @abattoirgallery @lisakurzner for your belief and support of the paintings in helping to bring them out into the world.
Keeper, 2026
Oil, dye, and graphite on sewn linen with marble and metal remnant, bowed and beveled pine. The surface of this painting is convex (see side view). 33.75 x 23.5 x 2.75 inches.
Massive thanks to everyone who came to Independent, who engaged with the work, and who supported me these past few months. I so appreciate being able to balance the seriousness of discourse with the springtime levity of this life with you all. And a big thanks to @abattoirgallery @lisakurzner for your belief and support of the paintings in helping to bring them out into the world.
Keeper, 2026
Oil, dye, and graphite on sewn linen with marble and metal remnant, bowed and beveled pine. The surface of this painting is convex (see side view). 33.75 x 23.5 x 2.75 inches.
Massive thanks to everyone who came to Independent, who engaged with the work, and who supported me these past few months. I so appreciate being able to balance the seriousness of discourse with the springtime levity of this life with you all. And a big thanks to @abattoirgallery @lisakurzner for your belief and support of the paintings in helping to bring them out into the world.
Keeper, 2026
Oil, dye, and graphite on sewn linen with marble and metal remnant, bowed and beveled pine. The surface of this painting is convex (see side view). 33.75 x 23.5 x 2.75 inches.
@econover featured in @hyperallergic today at @independent_hq
The fair continues through Sunday. Visit us at booth #415.
Independent
Pier 36
299 South Street
New York, 10002
Dates
May 14–17, 2026
Hours
Thursday, May 14, 2026 | 11 AM – 5 PM (By Invitation)
Friday, May 15, 2026 | 11 AM – 7 PM
Saturday, May 16, 2026 | 11 AM – 7 PM
Sunday, May 17, 2026 | 11 AM – 6 PM
@econover featured in @hyperallergic today at @independent_hq
The fair continues through Sunday. Visit us at booth #415.
Independent
Pier 36
299 South Street
New York, 10002
Dates
May 14–17, 2026
Hours
Thursday, May 14, 2026 | 11 AM – 5 PM (By Invitation)
Friday, May 15, 2026 | 11 AM – 7 PM
Saturday, May 16, 2026 | 11 AM – 7 PM
Sunday, May 17, 2026 | 11 AM – 6 PM
Eleanor Conover @econover discusses her meticulously constructed abstract, shaped canvas paintings now up @independent_hq booth 415 @abattoirgallery through May 17 - @ksancken - link in bio - artist photo by Jay Stern #interlocutorinterviews #indepedentnewyork #eleanorconover #abbatoirgallery
Eleanor Conover @econover discusses her meticulously constructed abstract, shaped canvas paintings now up @independent_hq booth 415 @abattoirgallery through May 17 - @ksancken - link in bio - artist photo by Jay Stern #interlocutorinterviews #indepedentnewyork #eleanorconover #abbatoirgallery
@whitehotmagazine highlights Eleanor Conover’s exhibition at Abattoir Gallery, tracing the artist’s nuanced engagement with material, memory, and perception through her latest body of work. We’re grateful for this thoughtful feature.
Read more at the link in bio.
Independent opens this week! Visit us at booth #415 to see Eleanor's new work.
Eleanor Conover
Here, Here, 2026
Oil, dye, and graphite on sewn canvas and polyester with marble, bowed oak, and beveled pine
86 x 60 x 5 inches
Photo courtesy the artist.
@econover @independent_hq
@whitehotmagazine highlights Eleanor Conover’s exhibition at Abattoir Gallery, tracing the artist’s nuanced engagement with material, memory, and perception through her latest body of work. We’re grateful for this thoughtful feature.
Read more at the link in bio.
Independent opens this week! Visit us at booth #415 to see Eleanor's new work.
Eleanor Conover
Here, Here, 2026
Oil, dye, and graphite on sewn canvas and polyester with marble, bowed oak, and beveled pine
86 x 60 x 5 inches
Photo courtesy the artist.
@econover @independent_hq
Independent opens next week. We are thrilled to be showing a new body of work by Maine-based painter Eleanor Conover.
Rooted in process, Conover looks to unlearn conventions of painting and contribute to the language of abstraction through the corporeal act of painting. Integrating handmade and craft traditions, her approach is meticulous and physical, exploring the primacy of her materials through hewn stretcher bars, stitched pockets and punctures, arduously dyed linen, and layered paint.
Abattoir Gallery | Booth #415
May 14–17, 2026
Independent
Pier 36
299 South Street
New York, 10002
Located on the Lower East Side at the intersection of Montgomery Street and South Street
Hours
Thursday, May 14, 2026 | 11 AM – 5 PM (By Invitation)
Friday, May 15, 2026 | 11 AM – 7 PM
Saturday, May 16, 2026 | 11 AM – 7 PM
Sunday, May 17, 2026 | 11 AM – 6 PM
Eleanor Conover
After Addison (II) , 2026
Oil, acrylic, and graphite on sewn linen with marble and bowed and beveled pine
49 x 35 x 3 inches
Photos courtesy the artist
@econover @independent_hq
Independent opens next week. We are thrilled to be showing a new body of work by Maine-based painter Eleanor Conover.
Rooted in process, Conover looks to unlearn conventions of painting and contribute to the language of abstraction through the corporeal act of painting. Integrating handmade and craft traditions, her approach is meticulous and physical, exploring the primacy of her materials through hewn stretcher bars, stitched pockets and punctures, arduously dyed linen, and layered paint.
Abattoir Gallery | Booth #415
May 14–17, 2026
Independent
Pier 36
299 South Street
New York, 10002
Located on the Lower East Side at the intersection of Montgomery Street and South Street
Hours
Thursday, May 14, 2026 | 11 AM – 5 PM (By Invitation)
Friday, May 15, 2026 | 11 AM – 7 PM
Saturday, May 16, 2026 | 11 AM – 7 PM
Sunday, May 17, 2026 | 11 AM – 6 PM
Eleanor Conover
After Addison (II) , 2026
Oil, acrylic, and graphite on sewn linen with marble and bowed and beveled pine
49 x 35 x 3 inches
Photos courtesy the artist
@econover @independent_hq
Independent opens next week. We are thrilled to be showing a new body of work by Maine-based painter Eleanor Conover.
Rooted in process, Conover looks to unlearn conventions of painting and contribute to the language of abstraction through the corporeal act of painting. Integrating handmade and craft traditions, her approach is meticulous and physical, exploring the primacy of her materials through hewn stretcher bars, stitched pockets and punctures, arduously dyed linen, and layered paint.
Abattoir Gallery | Booth #415
May 14–17, 2026
Independent
Pier 36
299 South Street
New York, 10002
Located on the Lower East Side at the intersection of Montgomery Street and South Street
Hours
Thursday, May 14, 2026 | 11 AM – 5 PM (By Invitation)
Friday, May 15, 2026 | 11 AM – 7 PM
Saturday, May 16, 2026 | 11 AM – 7 PM
Sunday, May 17, 2026 | 11 AM – 6 PM
Eleanor Conover
After Addison (II) , 2026
Oil, acrylic, and graphite on sewn linen with marble and bowed and beveled pine
49 x 35 x 3 inches
Photos courtesy the artist
@econover @independent_hq
Today it’s a sunny crisp April in Maine and I want to suggest that actually it’s December that is the cruelest month here, in its brooding darkness. I kept the lights on into the night in December, and I made a lot of drawings. Here are some I want to share. Inertia is a powerful thing. These drawings began as rubbings from the front and back of old paintings. I also started re reading leaves of grass, which hits differently when you’re not a closeted, sleep-deprived 19 year old with imposter syndrome slumped in the back of a lecture hall. But Whitman is all about revision, and April is for turning the fing page :) 🐸
Today it’s a sunny crisp April in Maine and I want to suggest that actually it’s December that is the cruelest month here, in its brooding darkness. I kept the lights on into the night in December, and I made a lot of drawings. Here are some I want to share. Inertia is a powerful thing. These drawings began as rubbings from the front and back of old paintings. I also started re reading leaves of grass, which hits differently when you’re not a closeted, sleep-deprived 19 year old with imposter syndrome slumped in the back of a lecture hall. But Whitman is all about revision, and April is for turning the fing page :) 🐸
Today it’s a sunny crisp April in Maine and I want to suggest that actually it’s December that is the cruelest month here, in its brooding darkness. I kept the lights on into the night in December, and I made a lot of drawings. Here are some I want to share. Inertia is a powerful thing. These drawings began as rubbings from the front and back of old paintings. I also started re reading leaves of grass, which hits differently when you’re not a closeted, sleep-deprived 19 year old with imposter syndrome slumped in the back of a lecture hall. But Whitman is all about revision, and April is for turning the fing page :) 🐸
Today it’s a sunny crisp April in Maine and I want to suggest that actually it’s December that is the cruelest month here, in its brooding darkness. I kept the lights on into the night in December, and I made a lot of drawings. Here are some I want to share. Inertia is a powerful thing. These drawings began as rubbings from the front and back of old paintings. I also started re reading leaves of grass, which hits differently when you’re not a closeted, sleep-deprived 19 year old with imposter syndrome slumped in the back of a lecture hall. But Whitman is all about revision, and April is for turning the fing page :) 🐸
Today it’s a sunny crisp April in Maine and I want to suggest that actually it’s December that is the cruelest month here, in its brooding darkness. I kept the lights on into the night in December, and I made a lot of drawings. Here are some I want to share. Inertia is a powerful thing. These drawings began as rubbings from the front and back of old paintings. I also started re reading leaves of grass, which hits differently when you’re not a closeted, sleep-deprived 19 year old with imposter syndrome slumped in the back of a lecture hall. But Whitman is all about revision, and April is for turning the fing page :) 🐸
Today it’s a sunny crisp April in Maine and I want to suggest that actually it’s December that is the cruelest month here, in its brooding darkness. I kept the lights on into the night in December, and I made a lot of drawings. Here are some I want to share. Inertia is a powerful thing. These drawings began as rubbings from the front and back of old paintings. I also started re reading leaves of grass, which hits differently when you’re not a closeted, sleep-deprived 19 year old with imposter syndrome slumped in the back of a lecture hall. But Whitman is all about revision, and April is for turning the fing page :) 🐸
Today it’s a sunny crisp April in Maine and I want to suggest that actually it’s December that is the cruelest month here, in its brooding darkness. I kept the lights on into the night in December, and I made a lot of drawings. Here are some I want to share. Inertia is a powerful thing. These drawings began as rubbings from the front and back of old paintings. I also started re reading leaves of grass, which hits differently when you’re not a closeted, sleep-deprived 19 year old with imposter syndrome slumped in the back of a lecture hall. But Whitman is all about revision, and April is for turning the fing page :) 🐸
Today it’s a sunny crisp April in Maine and I want to suggest that actually it’s December that is the cruelest month here, in its brooding darkness. I kept the lights on into the night in December, and I made a lot of drawings. Here are some I want to share. Inertia is a powerful thing. These drawings began as rubbings from the front and back of old paintings. I also started re reading leaves of grass, which hits differently when you’re not a closeted, sleep-deprived 19 year old with imposter syndrome slumped in the back of a lecture hall. But Whitman is all about revision, and April is for turning the fing page :) 🐸
Abattoir is excited to present new work by Eleanor Conover at Independent, May 14 - 17, 2026.
@independent_hq
Abattoir Gallery | Booth #415
Eleanor Conover
Warm Illusion, 2026
Oil, graphite, and dye on sewn polyester and linen with marble, bowed oak, and beveled pine
70.5 x 49 x 3.5 inches
Photo courtesy of the Artist and Abattoir Gallery
@econover #eleanorconover #abattoirgallery
Abattoir is excited to present new work by Eleanor Conover at Independent, May 14 - 17, 2026.
@independent_hq
Abattoir Gallery | Booth #415
Eleanor Conover
Warm Illusion, 2026
Oil, graphite, and dye on sewn polyester and linen with marble, bowed oak, and beveled pine
70.5 x 49 x 3.5 inches
Photo courtesy of the Artist and Abattoir Gallery
@econover #eleanorconover #abattoirgallery
Abattoir is excited to present new work by Eleanor Conover at Independent, May 14 - 17, 2026.
@independent_hq
Abattoir Gallery | Booth #415
Eleanor Conover
Warm Illusion, 2026
Oil, graphite, and dye on sewn polyester and linen with marble, bowed oak, and beveled pine
70.5 x 49 x 3.5 inches
Photo courtesy of the Artist and Abattoir Gallery
@econover #eleanorconover #abattoirgallery
Abattoir is thrilled to introduce new paintings by Eleanor Conover at Independent 2026, marking the artist’s first solo presentation in New York.
Independent will take place May 14 - 17.
See details below!
Abattoir Gallery | Booth #415
Independent
Pier 36
299 South Street
New York, 10002
Dates
May 14–17, 2026
Hours
Thursday, May 14, 2026 | 11 AM – 5 PM (By Invitation)
Friday, May 15, 2026 | 11 AM – 7 PM
Saturday, May 16, 2026 | 11 AM – 7 PM
Sunday, May 17, 2026 | 11 AM – 6 PM
“Eleanor Conover’s shaped canvases appear to take form the way water flows over stone.
Over time, the repetitiveness of the changing tides leave their marks, their indentations,
their grooves and ultimately shape the rocks. This synthesis of organic and structural is
at the core of Conover’s work. Having spent many summers in the quarries of Maine,
Conover draws inspiration from the structural elements of rock formations and begins
the construction of her paintings with a sketch. Like an architect mapping the armature of their building the sketch is the guiding force as she begins to work. Once determined, the supports are then built, fabric is dyed and prepped, repeatedly ironed, sewn
together and then stretched. Only at this point does painting begin. Deeply influenced
by the blocky paint application and brash use of negative space in Cezanne’s watercolor drawings, Eleanor’s remembered experiences of nature take hold as she paints her surfaces. “
Eleanor Conover
After, Against, Among, 2025
Oil, acrylic, dye, and graphite on sewn linen and polyester with marble, beveled pine and bowed oak.
“Eleanor Conover’s shaped canvases appear to take form the way water flows over stone.
Over time, the repetitiveness of the changing tides leave their marks, their indentations,
their grooves and ultimately shape the rocks. This synthesis of organic and structural is
at the core of Conover’s work. Having spent many summers in the quarries of Maine,
Conover draws inspiration from the structural elements of rock formations and begins
the construction of her paintings with a sketch. Like an architect mapping the armature of their building the sketch is the guiding force as she begins to work. Once determined, the supports are then built, fabric is dyed and prepped, repeatedly ironed, sewn
together and then stretched. Only at this point does painting begin. Deeply influenced
by the blocky paint application and brash use of negative space in Cezanne’s watercolor drawings, Eleanor’s remembered experiences of nature take hold as she paints her surfaces. “
Eleanor Conover
After, Against, Among, 2025
Oil, acrylic, dye, and graphite on sewn linen and polyester with marble, beveled pine and bowed oak.
“Eleanor Conover’s shaped canvases appear to take form the way water flows over stone.
Over time, the repetitiveness of the changing tides leave their marks, their indentations,
their grooves and ultimately shape the rocks. This synthesis of organic and structural is
at the core of Conover’s work. Having spent many summers in the quarries of Maine,
Conover draws inspiration from the structural elements of rock formations and begins
the construction of her paintings with a sketch. Like an architect mapping the armature of their building the sketch is the guiding force as she begins to work. Once determined, the supports are then built, fabric is dyed and prepped, repeatedly ironed, sewn
together and then stretched. Only at this point does painting begin. Deeply influenced
by the blocky paint application and brash use of negative space in Cezanne’s watercolor drawings, Eleanor’s remembered experiences of nature take hold as she paints her surfaces. “
Eleanor Conover
After, Against, Among, 2025
Oil, acrylic, dye, and graphite on sewn linen and polyester with marble, beveled pine and bowed oak.
Opening Reception, Saturday October 25, 12-2pm
79 Newtown Lane, East Hampton, NY
For more information please email contact@halseymckay.com
ELEANOR CONOVER I LAUREN LULOFF ITESSA G. O’BRIEN
Curated by HILARY SCHAFFNER
Upstairs: ALEXANDER RUSSI - CONFLUENCE
#alexanderrussi #halseymckaygallery #eleanorconover #laurenluloff #tessagobrien #hilaryschaffner @econover @laurenluloff @tessagreeneobrien @hilary_hvas @alexander_russi
Opening Reception, Saturday October 25, 12-2pm
79 Newtown Lane, East Hampton, NY
For more information please email contact@halseymckay.com
ELEANOR CONOVER I LAUREN LULOFF ITESSA G. O’BRIEN
Curated by HILARY SCHAFFNER
Upstairs: ALEXANDER RUSSI - CONFLUENCE
#alexanderrussi #halseymckaygallery #eleanorconover #laurenluloff #tessagobrien #hilaryschaffner @econover @laurenluloff @tessagreeneobrien @hilary_hvas @alexander_russi
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