erik sille

my official web www.eriksille.com Candyfloss Pieta: Erik Sille’s artistic and visual fascination draws it’s energy from the sources, which are not so common for the medium of painting. Erik Sille craftily takes over the objects, themes and methods of industrial design. We easily recognize features, that are specific for the consumer visual: graphic design of the covers of consumer goods, iconography of advertising and entertaining industry and the design of serially produced plastic items, usually toys. Sille transposes the techniques of drawing and comic’s composition, manuals and computer graphics to the medium of his painting. He composes the fragments of micro story characters-plastic toys. He leaves them to make an attitude to some life situation. The world of industrial design and iconography of advertising media is not only the source of depicted objects but also mostly the source of method of depiction. The technique of acryl applicated on the canvas in smooth solid and clean extents covers (and on a different level also reveals) the individual handwriting up to the border of repudiation of a living, physical presence of the painter’s hand. The fact that they are unnatural offers the anonymity not only to the figures of characters but also to the author himself. Or, to be more precise, it would offer the anonymity, if the events in Sille’s paintings weren’t connected to totally different stories. The word "but" is the sign of plot and the plot is the motor of the stories. I’m persuaded that the basic story, which is obviously perceptible in Erik’s paintings, is the story of fascination. Most of all the visual fascination so strong, that it quickly exceeds the limits of politics and ethics. This is the way that Sille’s painting becomes engaged (in a good sense). The figures in Sille’s paintings are caught in situations, which are almost contradictory to the pure and perfect world, out of which they are raptured. These situations are at least inaccurate if not pathological. The purity and strictly, curtly calculated perfection of plastic stories stays in a strong contrast to the vital pollution of the composition by the extents of stains and smudges. These are the notes of accident, expressivity and straight emotive presence of the painter’s hand. The story of this visual paradox is the story of aggression of the perfect and pure world, its violence and the power of its temptation. It’s the story of a world, that wants to fascinate by it’s perfectionistic accessibility and pleasure relying on the fact that nobody would mention the defect, which is a part of producing process and to which it inherently belongs.Noro Lacko' MySpace!