American Greetings, 2013
Graphite, resin and funerary ash on panel48 x 60 inches
L.M.R., 2013
Graphite, resin and funerary ashes on gessoed panel50 x 40 inches
Flowers, 2013
Graphite, resin and funerary ashes on gessoed panel50 x 40 inches
c. 1946, 2013
Graphite, resin and funerary ashes on gessoed panel30 x 36 inches
Scarecrow, 2013
Graphite, resin and funerary ashes on gessoed panel30 x 20 inches
Carbon Monoxide, 2013
Graphite, resin and funerary ashes on gessoed panel20 x 16 inches
Cracked Vase, 2013
Graphite, resin and funerary ashes on gessoed panel20 x 16 inches
Phillip Morris & Co. Ltd, 2013
Graphite, resin and funerary ash on panel12 x 9 inches
Tools, 2013
Graphite, resin and funerary ash on panel
12 x 54 inches
Ashes, 2013
Copyright The Artist
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Like artists Marc Quinn or Janine Antoni who use bodily materials to instill meaning in their work, Ericsson uses a silkscreen process and mixes his mother’s funerary ashes into the...
Like artists Marc Quinn or Janine Antoni who use bodily materials to instill meaning in their work, Ericsson uses a silkscreen process and mixes his mother’s funerary ashes into the printing medium. The gesture could be compared with Indonesian tree burials. An organic ritual that gives vitality to human remains so that they’ll grow back into the world. The ‘tree’ Ericsson constructs around his family is elaborate and rich. This is not a tomb or stagnant monument, but rather a dynamic and subversive method of scattering.