Eric Lee created a series of black and white monoprints in 2010 a precursor to his later Suminagashi style paintings. While this specific body of work is ink on paper, Eric moves fluidly through many different types of media and is comfortable experimenting with everything from a Japanese process of marbling paper with to pyrotechnics. No matter his subject, his own style always manages to make itself known. Eric’s embedded match head paintings and monoprints alike maintain an eery abstract quality reminiscent of a quiet storm.
Eric has long been interested in artistic processes that produce single editions. He has been drawn to monotypes since as early as 2006 and has developed some unique takes on the process—he has run over artwork with his car and embedded matches in some of his paintings, for instance. This untitled monoprint was made in 2010 and reflects Eric’s interest in how an artist can instigate a spontaneous process over which he has no control, but to which he can still react.
A Wisconsin native, Eric deals with issues of control and chaos in this 2010 series of black and white ink drawings, allowing the medium to flow while restricting its movement at the same time. If the viewer’s head is tilted just the right way, a bird stretching out its wings might appear at the bottom of the paper. But the image will inevitably disappear into Eric’s complex composition, leaving further images to the viewer’s imagination.
The specific aesthetic of black on white has been utilized by artists for centuries. Eric’s ink drawings tap into the rich history of monochromatic abstract art and have given Eric the chance to work in the tradition of artists such as Robert Motherwell. Eric’s drawings are much smaller than Motherwell’s monumental canvases, allowing for a more personal viewing experience and inviting close study of the poured inks intricate and miniscule effects on white paper.