“I Love All Kinds Of Wax, Hot Or Cold! Many Of My Landscape Oil Paintings Actually Begin With Molten Wax But Finish With Layers Of Cold Wax And Oil. This Process Of Adding And Subtracting Melds With My View Through A Camera Lens…What To Include Within The Frame Is Just As Important As The Elements That Are Removed.”
Although a native of Greenville, South Carolina, Erin spent most of her early education in Atlanta, Georgia. While attending The Westminster Schools, she began her studies in photography using traditional film and darkroom methods. Her education continued at James Madison University with several photography/darkroom courses. She received her Masters of Arts in Education from Boston University in 1999 and taught middle school until her first child was born in 2004.
Erin began to employ medium format film in her professional portrait and fine art photography career in 2012. A few years later, she began to explore the addition of encaustic and oils to her photographs as well as abstracted landscape paintings using oils and cold wax medium. Erin is represented by Sunshine Village Gallery (Athens, GA), ACP Highlands (Highlands, GA) and The Art Gallery on Pendleton Square (Pendleton, SC). Erin works out of her home as well as her studio at The Greenville Center for Creative Arts in Greenville, SC.
The intention behind my work is to explore the nuances of beauty and the influence of nostalgia on the simple moments of our lives. My art is a constant pursuit to honor these memories and meld the reality of a photograph with the emotion that the moment itself imprinted on the soul. I often choose a photograph as the base for an encaustic piece because there is some element of the image that resonates with the separation from beauty and wonder that can develop as we age and our responsibilities increase. A photograph that displays a sense of beauty lost in time with which we are trying to reconnect. My goal with photo encaustic is for the boundary between the viewer and the image to be fluid and translucent as the sculptural depth of the wax calls the viewer into the scene to study and question. Alternatively, using oil and cold wax, I free myself from the constraints of an image and try to reach the same connections and emotions by employing the emotive elements of color, shape and line to form an abstracted landscape. I will often connect the two mediums of encaustic and oil via diptychs that initiate a conversation between the two ideas.