22.07.2011 in10:13 in Miscellaneous -->
Ericsson enhances strange effects of light, making his wife’s white skin glow so brightly that the contours of her body appear to dissolve magically in a bath of supernatural of light. Or, perhaps, the drawings represent the viewpoint of someone who has suddenly emerged from darkness, blinking in the brilliance of day.
The works brim with historical and cultural references. More than anything, they’re a tribute to the famous final work of the Dadaist and conceptual artist Marcel Duchamp, known as “Etant Donnes: 1. La Chute d’Eau, 2. Le Gaz d’Eclairage” or “Given: 1. The Waterfall, 2. The Illuminating Gas.”
The Duchamp, made from 1946 to 1966, is a sculptural tableau installed permanently at the Philadelphia Museum of Art, where viewers who look through a peephole in a pair of antique doors find themselves gazing at a sculpture of a nude woman who lies spread-eagled in a field, holding a glowing electric lamp aloft in her raised left hand.
Ericsson draws heavily on the absurd erotic poetry — and some would say misogyny — of Duchamp’s creation. He also evokes the 19th-century tradition of painting nude women in forest settings, particularly the Realist works of Gustave Courbet.
Ericsson, born in Cleveland in 1972, has fashioned a career that has erased distinctions between being a “local” and a “national” artist. With studios in New York City and Concord Township, he addresses all audiences at once, at a very high level of achievement. The Shaheen exhibition shows why — and how — he’s been able to supersede the usual artistic categories of Northeast Ohio.
Кстати, Эриксон недавно подпрыгнул выше себя, создав пример зеркального искусства. Здесь нет прекрасных трупов, это упражнение для очень чувствительных