陈列您的艺术作品给每天无数的访客观看

Since the late 70s, the effervescence of visual arts in the beautiful and paradoxical island of Puerto Rico has been truly extraordinary. The four generations of artists now living in Puerto Rico are engaged in an intense and fruitful dialogue with the most daring artistic endeavors and the new forces within traditional art. Many of our young artists have represented us in the most important international biennials, challenging with their work the public, their fellow artists, and wavering critical praise. Eric French, born in Peru, Indiana, U.S.A., but wholly Puerto Rican, is one of the most outstanding, powerful and original of the artists known among us as the 90s generation (or the “Brand New”). We are face to face with a highly-educated young painter who seeks to chronicle not just our present but new aesthetic options and new liberties as well. Whether in his provocative Apocalyptic series, where he deploys the metaphor of nuclear explosions-which can also be flowers, ancient trees or hearts full of desire-, or in his recurrent self-portraits –which echo artists as diverse as Van Gogh, Basquiat and Clemente-, or in his “chess boards”, where heads play mysterious identity games, or in his enigmatic interpretation of “The Stages of Christ”-presented in Tribulations, a successful solo-exhibition in San Juan in 2001, or in his amazing line games (see his Linear Series), his bouquets or his recent erotic organic games –his latest work-, French’s production is distinguished by an original mysticism that combines a deep knowledge of art history –specifically, modern art and the adventures of post modernity- with a very strong desire to approach the different communions that later –happiness always takes place in the past- we come to see as joy. As a result of this, each of his paintings requires and rewards different readings within the wonderful game of co-authorship (Borges, Eco). His work, which I have been analyzing for over a decade, is lodged within that massive tent that we have agreed to call post modernity, and explores some of the possibilities that have emerged from the Industrial Revolution onwards: from Impressionism through Matisse, Picasso, Duchamp, and post-war American art up to the new figuration. His color palette, a combination of medieval illustration and Caribbean carnivals, and the characters (or shapes) depicted –sensuous and dramatic- invite us to join in and help build the “circle” in which French plays with chaos and order (Dante). The mystery and poetry of his work become valuable guides (Virgil, Beatrice) that make us experience the scenarios (liberties) that the artist wants to share with us. Both as a person and as an artist, French is not afraid of vulnerability. Thus, as many members of his generation, the constant quest for truth, the absence of fear regarding experimentation, change, and the possibility that the painting might “steal” the artist and present itself as his and our mirror. To French, painting is a ritual that may move from the existential towards the religious. As an artist, French will remain a student and a teacher. He is an absorbent sponge -from Van Gogh, Rouault, Matisse and the Cobra movement to Clemente and Damien Hirst- and a visionary prophet- interpreting life, contesting the canon, and luring us into something new-. His work –ever rich and powerful- is a quest, a path, a cliff, the possibility of flying without limits and also of acknowledging that life is a brief one-way journey. And what does French want from us? He wants us to follow him. Should we? I believe so.

By Manuel Álvarez Lezama, San Juan Puerto Rico 2002. Art Critic, Professor at the University of Puerto Rico and the School of Fine Arts of Puerto Rico. Published by Southward Art Latin American Art Review Magazine, sponsored by, AACA Asociación Argentina de Críticos de Arte Secretario Regional AICA para América Latina y el Caribe., year 3, issue 7, march 02- august 02, ISSN 1515-4408.

WELL FORMED FORMULA, Collection of The Museum Of Latin American Art, Long Beach, CA.

2004
Mixed media on canvas
180.34 cm x 160.02 cm

FEASIBLE SOLUTION, Private collection

2004
Mixed media on canvas
165.1 cm x 213.36 cm

SOLUTION, Private collection

2004
Mixed media on canvas
180.34 cm x 144.78 cm

PLANO 1 COROLLARY, Private collection

2004
Mixed media on canvas
154.94 cm x 119.38 cm

AXIS OF SYMMETRY, Private collection

2004
Mixed media on paper
101.6 cm x 76.2 cm

THE LIGHTHOUSE, Private collection

2005
Mixed media on paper
76.2 cm x 55.88 cm

CRUX, Private collection

2006
Mixed media on paper
111.76 cm x 88.9 cm

THERE ARE SIGNS OF LIFE IN DARKNESS-MAN TANK, Private collection

2006
Mixed media on canvas
132.08 cm x 106.68 cm

ENTROPY, Private collection

2006
Mixed media on canvas
187.96 cm x 243.84 cm

YELLOW COMET, Private collection

2007
Mixed media on paper
60.96 cm x 76.2 cm

INFINITY 4, Private collection

2007
Mixed media on paper
76.2 cm x 101.6 cm

BIG BANG, Private collection

2008
Mixed media on canvas
182.88 cm x 213.36 cm

BIG BANG² (SQUARED), Private collection

2008
Mixed media on canvas
182.88 cm x 213.36 cm

NATURAL LAW, Private collection

2008
Mixed media on canvas
182.88 cm x 213.36 cm

INFINITY #9 'SECURITY', Private collection

2008
Mixed media on paper
101.6 cm x 76.2 cm

INFINITY #12 'BUBBLES', Private collection

2008
Mixed media on paper
101.6 cm x 76.2 cm

UNIVERSAL JUNGLE, Private collection

2009
Mixed media on paper
45.72 cm x 55.88 cm

FLOR AZUL, Private collection

2009
Mixed media on canvas
76.2 cm x 60.96 cm

ENREDADERA

2009
Acrylic on canvas
76.2 cm x 60.96 cm

KA BOOM-BLOOM

2009
Acrylic on canvas
111.76 cm x 88.9 cm