Signed Unframed Giclees
Artwork by: Eric R. Doolin
The work is predominantly an evolution in oil painting. Painting took root, for me, as a way of manipulating perspectives on reality. A strong Eastern influence is present in the work, particularly Hindu. The relativity of reality and the illusion of the physical world seem to go hand in hand with the content behind Hindu iconography, and they do. The problem is that in painting these symbols, the end result becomes a literal one. The painted images fall into the same trap as the icons do of spiritual materialism.
We know from quantum mechanics that the physical world is, indeed, an illusion, and that nothing is real until it is observed. What does quantum painting look like? How does an artist operate metaphysically? How can subject and technique come together to create imagery that both signifies and functions as the infinite and unreal? The work now looks to the fractal for answers. What does it look like to showcase the omnipresent sprouting of fractal mathematics in every part of nature from tree bifurcation and river patterns to the branching out of our own circulatory and nervous systems?
Faced with this painting dilemma, the work shifted to a reliance on organic forms to provide inner and outer structure, seeing through the object to its essence. The work is about the nature of nature, exploring the inherent infinity behind organic forms. Evolution provides an endless unfolding of repeating structures, patterns, and colors which lend themselves comfortably to painting. The paint is thinned down to a flat translucent veil allowing the brightness of the canvas to shine through, creating something out of nothing, getting the most out of the materials, and following the principle that less is more.
A compulsion to dive ever deeper into the patterns found in the natural world has shaped the practice. The work is engaged with the colorful and geometric tapestries which drape themselves over the universe; their complexity masks the simple rhythm which lies underneath and it is this unified rhythm the work seeks to achieve. Cacti, succulents, and seashells are motifs of microcosms, and serve only as a starting point in extracting the essence of nature's architectural and visual tendency toward repetition.
The observed species, they are not the subject; infinity is the subject. The work composes these forms to suggest that they extend beyond the boundaries of the canvas, focusing only on pattern and not monolithic object. Each work is a singular study, finding the multiple within.