Erin D. Garcia is Los Angeles based visual artist who tends to harness simple lines in basic, sunny colourways, using the scale of street and installation art to make an impactful effect. Employing basic elements and shapes, often arranged in repeating patterns and colours, Garcia explores permutation, sequence and cycles of colour.
Originally from the Deep South, Erin and his work have both taken a long migratory path with many twists and turns along the way. Garcia’s current work is an exploration of where the human capacity for abstraction intersects or conflicts with the sensory desire for specificity. Each one of his drawings or paintings is part of a process of distillation, and there is a distinct feeling when taken together as a series that they are driving ever closer to a revelatory moment. The process of the work is exceedingly present, the pieces are inextricable from the practice of their generation.
Having never studied formally, when Garcia first moved to LA he began working as a freelance graphic designer for companies such as Stussy and The American Institute of Architects, as well as other projects that revolved around music. “I started to become more involved with actually producing music around the same time my interest in illustration was declining,” he explains. “I was still designing for personal projects but my style visually was drifting more towards collage and any time I started drawing I was only interested in creating and arranging shapes.”
Collage allowed Garcia to explore the idea of “balance in the relationships of imagery”, which, when filtered down to its purest form eventually led to the niche the artist has settled on today. Erin’s geometric abstractions derive from a mother structure of Stacked blocks and volumes rendered in a series of colors. He deconstructs this architecture of color into a simpler lexicon of lines, arches, and curves in an ongoing search of other primary structures, or as he says, “elements”. These have been the units of full scale pop environments featured in fashion spreads for Bullett and Foam magazines and adorned the walls of the Ace and Standard Hotels. His work is a calculated process of designating, defining, arranging, and permuting elements and colors with algorithmic thoroughness. It embodies 1960′s Minimalism’s obsession with reduction, seriality, repetition, and a priori with a Sottsassian embrace of the decorative.
Often reduced to a series of numbers, or definitions of a permutative process, there is an impulse to decode what number corresponds to what element, which is the color, and what is the relationship. All of this implies an inherent rhythm in the way that these patterns are arranged. His compositional logic is intimately tied to strategies of musical arrangement but exploit the mind’s tendency to complete data. Lines that edge triangles appear completed, but upon closer look, are actually disconnected and superimposed with unmet corners. Three dimensional solids we perceive as pyramids are actually incomplete and interrupted by yet another incomplete solid. It is a counterargument to the Gestalt, the theory of mind that the global whole is more than the sum of its parts. As if he means to argue that the global whole is actually a sum of parts. Or stated in Erin’s nomenclature, that “stacks” are just “elements” with no corners.To Sottsass colors are words; to Erin, colors are numbers, and numbers are beats.
Erin D. Garcia lives and works in Los Angeles, USA.