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Artist Statement for Eric Helin
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The work of the Cubists made a strong impression on me at a very young age. I often use a Cubist approach when I manipulate space. I artificially restrict depth in my works, by forcing my designs into the confines of a two dimensional plane which flattens and distorts depth. The results of this can be seen in pieces like my table “Watercourse.”
The outré, exotic and unusual have always fascinated me. Consequently, aspects of the Avant-Garde and Surrealism have also significantly influenced my work, though ultimately my work is defined by Concrescentism. The Concrescentist approach allows me to re-interpret traditional elements or designs by applying operative techniques derived from various art movements. This alters any original element in such a way that it results in hybrid decorative motifs or forms.
My own “maleness” is another underlying component in my artistic expression. I’m captivated by the sleekness, grace, and angularity of the male form which seems very consistent with my own designs. This masculine disposition is expressed in well defined lines and carefully delineated geometric forms. It also adds an industrial dimension that issues in precisely structured pieces like “Smokestack,” or in tables with bridge-like qualities: like “Spann 1” and “Watercourse.” It’s this impulse that gives rise to the functional component in my art and why my pieces are designed for practical use rather than being purely ornamental. Finally, this masculine influence, can be seen in my love and identification with steel.
Every artist has a favorite material. No other material has captured my imagination like steel. Steel is heavy, durable, massive, and permanent. With a little heat, it becomes as pliable as clay. It can easily be reworked, unlike ceramic which can only be fired once. I’ve also always hated waiting on things to dry: clay, glue, paint, etc. When a piece of metal is braised or welded to another it is joined together immediately.
Certain motifs or elements seem to keep cropping up in my work as well. Whatever impulse gives rise to these seems largely unintentional and mostly subconscious. I’m often unaware that I’ve used a familiar motif in a piece until a much later date, because it appears in a different position or at a different angle so its identity remains hidden. But at some point I’ll be idly gazing at the finished piece in a kind of reverie. Suddenly I’ll recognize a certain element has capriciously put in its appearance once again and I start to laugh. It’s a laugh of recognition, a laugh of delight; like seeing an old friend who has dropped by once again to say, “hello.” Until the moment that I recognized the motif, I had been completely unaware of its presence in my design.
Over the years, I’ve identified some of these thematic elements that tend to appear, in my work on a fairly consistent basis. These exist in my work in much the same way that a particular configuration of notes is used by a composer or a cast of characters appears in a play. Among these motifs or elements are: the squared spiral, the irregular zigzag, the trapezoid, standard geometric forms (such as: squares, triangles, circles), stylized “flow patterns” as seen in: smoke, water, clouds, or other illustrated organic motion. But it’s the way in which I combine and use them that produce truly unique creations.
Finally, I frequently derive three dimensional forms from symbols. One example I can think of is: “The Walking Wing” table lamp that originated as a cattle brand, which brings up a final point. While I seriously pursue my work, what I want people who view my work to experience more than anything else is a sense of fun. Fun is an element in all my work. I’ve told people on more than one occasion that if someone really understands my work – if someone looks at it and reflects on it, eventually you’ll find, somewhere back behind it all – a child – standing there and laughing at you.
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