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Dysmorphia (detail)

Over the last decade, much of my work has focused on time-based compositions in an investigation of alternative narratives created solely by the deliberate manipulation of otherwise extraneous content. In this series, “Dysmorphia,” I further explore those possibilities, while representing the moving image in a purely two-dimensional form. The resulting work, comprised of a ten-panel wall-mounted installation approximately 480cm across, seeks to challenge the viewers’ sense of beauty and artificiality. This work was first shown in a 2018 solo exhibition, at CICA Museum in South Korea.

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Comment by Erik Deerly on August 13, 2018 at 5:08am: Thank you for your feedback and consideration. One of the reasons I appreciate the critical analysis here is because it often leads me to further contemplate my original statements as they relate to my intent. In the case of this work, possibly I might wish to consider changing my descriptive verbiage from "seeks to challenge the viewers’ sense of beauty and artificiality" to "seeks to challenge the viewers’ sense of value in art." By this I mean, we are clearly well into the 21st century, yet lacking the many overlapping movements of the 1900s. It seems that many of our most renowned contemporaries appear to be making work "about" things: about race, colonialism. feminism, sexual identity, poverty, war, politics, nationalism, etc. While I am also frequently inspired to take on such topics in my work, this series (proudly?) has nothing at all to say about anything. Possibly my question of value in art is to self?

Comment by Resident Curator on August 11, 2018 at 2:34pm: Curator’s Comment:

Welcome back! I’m very happy to see your current work posted on the site. This new multi-panel wall mounted installation appears to have a totemic and substantial presence when viewed from afar, but the intricacies of the linear bands are better appreciated in the closer shot. The narrative component of Dysmorphia is less illustrative or representational than your earlier pieces, but I do intuit a progression of time and space in the compartmentalized intervals. I found it interesting that your notation states the work seeks to challenge the viewers’ sense of beauty. While the lack of a recognizable subject may be less satisfying on one level, it is only with the expectation of such that we are confounded. One might argue that the shimmering movements and organization of saturated color stripes provide a purer, or visceral aesthetic reaction. Without identifiable subject matter the viewer is not tasked with the identification of the superfluous or inessential. While the title implies an abnormality, I find this work soothing and engaging. It taps into the primacy of the digital experience.