Eric Banks

I am interested in the coalescing of form concept idea and emotive response.

The paintings and wall reliefs are an attempt to wed the primacy and simplicity of forms and shapes to a process of thinking and the emotion. I am concerned with how the configurations of imagery and its spatial container can transport the viewer in a conceptual process that might range from reminiscence, reflection, recognition, to actual gut feelings of anxiety and incompleteness of understanding despite clarity in form and formulation.

 In the recent sculptural work I use  a substructure incorporating an amalgam of manufactured objects and enveloping them in a “skin” of various fabric materials treated with ash, lint and acrylic sizing toward the overall expression of forms caught in a paradox of the living and the dead, as in the withering and wrinkling of bodies found preserved in peat bogs and its paradoxical antithesis in fetal incubation. I see in these metaphorical parallels a connection to consciousness of the fragile tenuosity of human existence and the cyclical mandalic relationships that offer a hope of meaning to life. They also are meant to serve as symbolic almost archetypical manifestations of what I feel are abstract perceptual deifications as in a thing that is unnamable but lends itself to ideas of power as well as horror, beauty, and awe.

With both mediums, I infuse my interest in  materiality as a means of enabling access to the primal unconscious state towards a sort of universalist link to a commonality of origins that exists pre-socialization and which is ahistoric and perpetual.

Through a coded veiled language of symbol, form, surface and spatial tension and a process which melds the intuitive empathetic sensibilities with a demanding physical process I am attempting to communicate both idea and emotion to urge the viewer toward a sort of universal communion of spirit and intellect that might convey an aspiration to freedom and human dignity and a rejection of tyranny and dehumanization.

Though I avoid the specific subjective and temporal thematic approach I have always felt my work to convey, perhaps more on the subconscious level I feel art functions most effectively on a resistance and a rebellion to the almost systemic tendency of our social orders and hierarchies to dominate and control every aspect of our beings.