Seattle-based artist, curator and educator Eric Swangstu returns to New York for a solo exhibition at FXFowle Gallery. The self-titled exhibit features fourteen newly realized paintings that infuse sentiment and symbolism within unassuming artifacts. Motorcycle helmets act as theoretical shields to realistically rendered male portraits and commonly spherical object studies. Swangstu tips his helmet to the academy of traditional painters (Cezanne, Rembrandt and Stanley Lewis) while simultaneously acknowledging the exclusive culture of Hell’s Angels. Throughout the exhibit, the viewer is permitted to wander through vibrantly articulate layers of experimental painting tactics. Swangstu shifts from formal subject beginnings as seen in Fragile Things (bowl + pitcher), 2011 to veiled self-portraits portrayed within his most recent painting, death proof, 2011. The paintings become a manifestation of the artist’s mind at war with formality, daydreams and security.

After a class lecture and before one of his late studio nights, I interviewed Swangstu to discuss his practice, inspiration and vision for the current exhibit.

Can you discuss the physicality and conceptual manner behind the paintings for your show at FXFowle Gallery?
I start with an idea but keep it open to impulse. I usually have a need to really develop an image and spend a lot of time laboring on it just to mess with it and see what kinds of things can happen. I’m not a conceptual artist and I don’t think like a designer. I’d rather wrestle and improvise with them.

Do you consider yourself primarily a painter or are you experimenting with other media?
I have painted exclusively for a long time however I will be working sculpturally with porcelain and glass this year. Whatever I do I’ll probably always consider myself a painter first.

How has your practice changed throughout your move around the United States?
Subject-wise, I’m reflecting my surroundings for the first time. I’m slowly starting to depict things that have to do with where I live. I’m not sure why yet. It may be an age thing or something but I’m just more comfortable with that idea now. The Pacific Northwest is a magical looking place. In terms of the nuts and bolts of my studio practice, it helps to live in an environment where life is easy. I can do so much more with a smaller window of time. Everything is at arm’s reach and there’s more availability to the work. Seattle is active yet remote. It offers solitude.

What is your affinity towards the sphere? It seems to re-occur throughout your imagery.
My sister carved a limestone sphere in her freshman year at art school and gave it to me. At the time it served as an object that gave me an excuse to paint without being concerned with the subject. I enjoy how it can be both object and allow for formal exploration in other ways. Blowing up the scale of the sphere starts to re-contextualize it and at times become inexplicable. I like that back and forth. I keep intending to move on to the other geometric solids but who knows if that will happen.

When is a painting finished?
When it feels like I should stop. But it’s open season on anything in my studio so my paintings may have many lives if they stick around for long.

What’s next?
I’ll be growing the motorcycle helmet images in both concept and complexity and as sculpture. Delicate, fragile motorcycle helmets in pyramids and piles, made of porcelain and glass.

How do you envision/want your audience to experience your paintings?
I honestly don’t know. If I get concerned about that when I’m working then it starts to paralyze me. If anything, I hope they see sincerity in the work.

Swangstu’s show will remain on view through July 1, 2011.
FXFOWLE 22 West 19th St, 11th Floor.
http://www.fxfowle.com/

death proof, 2011. 82x78”, oil on canvas.

Fragile Things (bowl + pitcher), 2011. 49x60”, oil on canvas