ERIC BREISH | CONSTRUCTS

ON VIEW MARCH 10 - APRIL 10, 2022

AnArte Gallery is honored to introduce Eric Breish’s solo exhibition, “CONSTRUCTS.” Please join us for an opening reception on Thursday, March 10th from 5:30-7:30 pm. Music by DJ Reggie Cruz. Manhattan Cocktails-Champagne-Vino.

Graffiti is often seen as a rebellious act. Only recently has it been accepted as a legitimate art form. I’ve always been drawn to it even before I could conceive of the meaning behind it. From simple tags to masterful murals on the side of skyscrapers, it spoke to me in the same way as museum walls. Growing up in middle America during the 80s and 90’s, the suburban container that shaped me didn’t relate to my interests. Music like Hip Hop and Grunge was telling a different story than what was in front of my eyes. Strangely, I was drawn to the seedier side of fringe culture and felt more connected to the voices that were speaking about life beyond the neat and clean narrative portrayed by my environment. In my heart, I felt like a square peg trying to fit into a round hole, and from a young age, I sought refuge in pushing the boundaries against what was deemed acceptable. This thinking would become the foundation for my desire to become a full-time artist.

In cities like Los Angeles, there is no shortage of street art. It’s an assault on the eyes for some and a feast for others. To me, it’s poetic in its crudeness. It doesn’t adhere to the philosophies of painting, color theory, or the golden rules of composition. The streets don’t judge. They sit idle for all to see. Rough and un-curated. A cross between urban beautification and civil disobedience, graffiti declares, “I am here, I exist.” It’s a platform for the marginalized to communicate their message to the masses. An undercurrent of rebellion against the paid advertisements of mainstream media that look to draw you into their narrative of conformity and submission. Usually created by “unskilled hands”, it flies in the face of traditional art markets and doesn’t look for the acceptance of critics. Good or bad, it makes us take notice.

After a long absence, I started returning to LA more frequently in the last couple of years. The landscape hadn’t changed, and if anything, graffiti had only gained in popularity. Every open spot seemed to be covered by tags or dilapidated posters. I started walking the streets, taking notice of walls that I liked, and making mental notes of posters that I could remove and archive for later projects. I took these posters crudely off the walls and cut them down to scraps that allowed me to use them like paint. In a style that balances collage and decollage, these fragments are layered and removed repeatedly to create new visuals and messages. Because I couldn’t carve out the city walls and take them with me, I had to create new substrates to affix these fragments of repurposed materials. I’m known for my works on metal and liked the idea of combining the two mediums to create something fresh and unique. I combine the essence of street art and pair it with a thick holographic aluminum panel that’s been heavily distressed to mimic a decaying wall. The result is part painting, part street art, and part sculpture. Bringing these pieces into the clean white gallery walls elevates their crudeness into a fine art presentation without losing the soul of the message which is that art is for and from the masses. It can be created by anyone who believes in their own voice and doesn’t require degrees or formal training to create or interpret works of art. It only requires the courage to put it out into the world.

“Any painter, poet, musicians, sets a trap for your attention. That is the nature of art.” - Marshall McLuhan (The medium is the message)