For artist EAST ERIC, the next big thing is irrelevant. His practice is stacked on the strong back of speciﬁc and undeniable claims. With his Monochrome series for example, he acknowledges that the work could be deﬁned as a ‘zero-degree of painting to some. But since it questions the object itself, and/or the space that surrounds it and its use, it can also be seen as an opening to inﬁnity- providing a spiritual challenge beyond aesthetics.’
What he feels makes the series beautiful is their pleasant awkwardness and the non-threatening complexity it presents. The transitory nature of these pieces evokes the problem of memory and reminds us that the moment is ﬂeeting. It will be erased, buffed or otherwise retired meaning that nobody can commercialize the work, purchase tickets to view the work or own the work. This is a gesture that speaks directly of a certain ‘freedom’ from economic and cultural restraints, the notion of gift economy and public information that drives open source movements and was at the heart of the street art phenomenon.
Does a new color give an object a new identity?
Beautiful to look at, the series asks a range of subtle yet crucial questions with regard to social dynamics. In addition to the monochrome works, his experiment with traces have long fascinated me; from messing with advertisements or status quo conceptions of beauty, to building paint pumps into his shoes, his constant practice of playing with paint and pressure, suggests a desire to make his journey readable to others. Over the past 13 years, he has exhibited photographic narratives and video performances, painted landscapes and kept politics, common sense and meaning on the menu while amusing himself.
While FREEDOOM can be read as highly cynical, freedom is the main concern in his long running practice.