The artwork of Eric R. Doolin is predominantly an evolution in oil painting. His painting method began as a naturalistic and classically trained methodology, exploring the landscapes and figurative elements of nature. Surrealistic and post-impressionistic techniques were also experimented with, playing off the differences between two and three dimensions, between the illusion of depth and the actual flatness of the surface. The interest was on painting as a way of manipulating perspectives on reality. A strong Eastern influence is present in the work, particularly Hindu. The relativity of reality and the illusion of the physical world seem to go hand in hand with Hindu iconography, and they do. The problem is that the end result becomes a literal one. The painted images fall into the same trap as the icons do of spiritual materialism: as long as these philosophical principles take a specific form then they can never transcend themselves, the boundaries have already been defined. We know from quantum mechanics that the physical world is, indeed, an illusion, and that nothing is real until it is observed. What does quantum painting look like? How can subject and technique come together to create imagery that both signifies and functions as the infinite and unreal, to showcase the omnipresent sprouting of fractal mathematics in every part of nature from trees and each blade of grass to our own circulatory and nervous systems?
Faced with this painting dilemma, the work evolved into a reliance on organic forms to provide both inner and outer structure, seeing through the object to its essence. The work is about the nature of nature, exploring the inherent infinity behind organic forms. Evolution provides an endless unfolding of repeating structures, patterns and colors which lend themselves comfortably to painting. As for the fleeting physical world, the paint is thinned down to a flat translucent veil allowing the brightness of the canvas to shine through, creating something out of nothing, getting the most out of the materials, and following the principle that less is more. Cacti, succulents, and seashells serve only as a starting point in extracting the essence of nature's architectural and visual tendency toward repetition. The observed species, they are not the subject; infinity is the subject. The work composes these forms to suggest that they extend beyond the boundaries of the canvas, focusing only on pattern and not monolithic object. Each work is a singular study, finding the multiple within.
Eric R. Doolin's work has been influenced by a life of travel and interest in art history. He resides in Los Angeles where he pursues his interest in merging art with nature. Oil paintings explore the nature of nature, while ecologically conscious furniture conserves it. Doolin designs green furniture made of hempboard, glass, stone, soy-based foam, hemp fabric, and areas designated for living plants. Both painting and furniture operate under The Fractal Gallery. Upon ordering selected pieces from the Fractal Gallery, a portion of proceeds will be donated to International Green Shield.
born: 1977, Dallas, Texas
Otis College of Art and Design, MFA, 2007
University of Southern California, BFA, 2000
1st Place State of Texas, Texas Visual Arts Association, 1994
"Eric R. Doolin," Kennedy Publishing, 2010
"Featured Artists," International Art Book Volume II, Modern Art Community and Mediaplan Publishing, 2010
"American Art Collector," Alcove Books, 2010
"Best of Worldwide Oil Artists Volume I," Kennedy Publishing, 2010
solo or two-person exhibits
World Market Center: "Natural Dimensions," Las Vegas, NV 2010
Jaxon: "Natural Dimensions," Los Angeles, CA 2010
Projekt30.com: "Eric R. Doolin," 2009
The Beverly Hills Art Show: "Affaire in the Gardens," Beverly Hills, CA 2009
Bolsky Gallery: "Primordial Soup," Los Angeles, CA 2007
Bolsky Gallery: "Resolutions," Los Angeles, CA 2007
High Energy Constructs: "Chain Mail," Los Angeles, CA 2006
Bolsky Gallery: "Otis Mid-Residency Show," Los Angeles, CA 2006