Eric’s paintings propose deconstructed figure-ground relationships cast in topographical dances. Physical-psychological dances sensitive to translucency and chroma. The figure-ground relationships are ostensibly apparent; his paintings rely on potential grounds atop which beckoningly figurative elements preside.
These seemingly figurative elements or shapes are a component of pictorial vocalizations. The shapes alone are not the vocalizations, rather the fractured figure-ground unit as a whole attests to these vocalizations. The vocalizations are made pictorial by the mediation of the oil and linen as prism. A prism that serves as the focal point of a durational praxis. The paintings capture the workings of the oil-linen prism, supporting pictorial vocalizations on their surfaces.
Eric’s interested in the way crying makes vulnerability physical. Crying helps make an emotional landscape physically recognizable. Crying asks for empathy and opens a door to empathy. He’s interested in a painting practice that makes vulnerability physical. Paintings as physical objects capturing vulnerable vocalizations in a physically pictorial language. He’s interested in research using the lenses of crying and vulnerability. Crying honored by the face-to-face interaction. By an intimate intersubjectivity.