Big Site Changes

      Expect chaos here for a little while. I’m changing web frameworks, and I don’t even know if old posts, etc will display properly for a while. Look forward to some actual new content for a change. Not quite yet, though. Just chaos. Come back in a week, how about…

      Orange Squash

      Lately, people have shown some interest in the movies I made last summer, and it’s time to share them, at last. Orange Squash was made from a series of landscape oil paintings, much altered. Hopefully, I’ll get more of this material posted in days to come. The resolution is radically reduced here (sorry), but that’s the nature of the web. Enjoy…

      Somewhat Absurd

      It’s been so long that it’s a little ridiculous, if I’m going to bother to have a site at all. So much since my last post – the most recent major thing is the Hybrid exhibition at Redline. My work there included 7 paintings, 3 video works, and two monotypes. The movies were derived from the paintings and prints, and it’s hard to describe. At this moment, I won’t attempt it, and I’ll get some video posted when I figure out the logistics.  (Huh?) The video works are in editions of 10, so I can’t just post them whole, at full resolution, without wronging some collectors who’ve purchased them. (Good news, that.) I’ll figure it out, but I’ll probably edit a short “trailer” for a movie that was very short to begin with.  Let me know if you’re interested. It’ll help me get around to it if someone actually asks. This is one frame from Orange Squash, which is in the show:

      still from Orange Squash by Eric Waldemar, HD video 2012

      The exhibition is up until September 30th. I’ll get some photos posted. I think we all did something remarkable with this show, and I’m very excited about the work I’m showing. Go see it if you can. Paintings are going fast, I’m very pleased to say…

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      Anselm Etting on Odin-Odeon:

      “At first, the etchings & monoprints in Eric Waldemar’s Odin-Odeon seem shamelessly archaic. A warm palette of earth tones and a concern with the rhythmic mystery of the agile brush reflect a long engagement with the works of Rembrandt, Hakuin and Homare Ikeda. Given time, these tiny images unfold in the mind, often with several simultaneous layers of imagery. They feel weighty at first glance, but after close attention, many are subtly hilarious, especially in combination with Waldemar’s wry, deadpan titles.


      Then there are the movies, displayed on a tiny screen to force close attention. These intricate rhythmic abstractions use this series of prints as source material, transforming their already ambiguous subject matter into a trembling, bewildering dream. Tiny jewels of abstract cinema, they also suggest an approach to the accompanying prints, to which the viewer returns with a fresh eye for close detail and half-hidden treasure. “

      Recent Posts

      For all the art talk and theory, an artist, regardless of their specific beliefs and cosmology, knows that when it goes well, the moment of making is a moment of grace, some kind of gift, a treasure and a privilege. This experience is as old as art is, although a lot of contemporary art talk belittles it. We, as artists, the kind that I mean, are not just content providers for... a luxury market, a network of institutions, a sophisticated discourse, and a social scene. We are, at our best, much more than that. What, then? I don't know, still. I just have a thread that I need to follow.

      Time Casts Shadows

      Time Casts Shadows_Eric Waldemar

      Edges soften or harden depending on the light source. Months merge to quick glimpses in the shadow of memory.Flashes are given sequence, and from the mind's turbulent puddle, we conjure up a stream.

      Welcome to WPAR

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      \Welcome to Waldemar Pure &\\
      \\Applied Research.
      Please stay with your assigned group.

      E.W.
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      Far from Home

      Far from Home, monoprint by Eric Waldemar

      An itinerant mechanic wanders an unfamiliar planet.

      tumbly things eric waldemar