Eileen Cubbage holds an MFA in Painting from the Maryland Institute College of Art and a BFA in Illustration from Syracuse University.

Her work has been supported through residencies and exhibitions at the Virginia Center for the Creative Arts, Delaware Center for Contemporary Arts, New York Studio School, Pyramid Atlantic Paper Studio, Takt Kunstprojektraum Berlin, FAVELab Greece, Unity Space Athens, STOA Center for Body Art Studies in Şirince, Turkey, and Arthouse Pani in Mexico.

She has taught painting, drawing, 2D and 3D design at Moore College of Art and Design, the University of the Arts, Fleisher Art Memorial, and SCAD Hong Kong/Savannah.

Working across drawing, painting, projection, and installation, she develops curriculum in process-based, expressive drawing and investigates drawing as a movement-based, durational practice.

  • My work positions the body as both site and method—an active threshold where sensation, memory, and identity meet. Each piece begins from lived contact: tactility and impulse moving through matter.

    I approach painting as a sentient form, a structure that registers and transmits experience in real time. Surfaces are cut, burned, and layered, then scanned, mirrored, and digitally recomposed. Projected images carry residues of touch forward as looping sequences that keep the image in motion.

    The practice draws from movement theory, Butoh, and ideas of skin as boundary. These frameworks support processes where forms appear, shear, and recombine in response to embodied states.

    I understand abstraction as inquiry rather than resolution. The studio is a site for testing how attention becomes form, how painting holds vulnerability while remaining open, and how surface itself senses contact, perception, and time.

  • My research treats drawing as a movement language—a practice where gesture, time, and material trace states of change. Each mark acts as both record and possibility, registering what has happened while opening to what might emerge.

    Drawing Within is a long-form project that studies how drawing embodies transition, perception, and transformation. Each arc isolates a specific register of practice—instability, memory, improvisation, embodied perception, and projection toward future states. These arcs unfold through drawing, painting, projection, and installation, forming a sustained inquiry into how the body thinks and perceives through mark and material.

    This research also informs my teaching and public programs. I design and facilitate movement-based drawing workshops— institutional and community sessions that explore how movement, duration, and material decisions generate form. These contexts extend the inquiry into collective practice, where participants test how drawing operates as a mode of perception and reflection.

    Selected essays and audio are archived through Drawing Within, a companion platform for writing and documentation.