TR Ericsson’s installation in private Midwest collection

TR Ericsson alongside “I LOVE YOU TOTALLY ALL THE TIME AND ALWAYS WILL”, bronze installation, 2018

Some images from a recent visit to TR Ericsson’s bronze installation at a private collection in the American Midwest, surrounded by a beautiful autumn landscape and works by Sol LeWitt, Andy Goldsworthy, Roxy Paine, Anish Kapoor, Mark Manders, Ai Wei Wei and others.
Continue reading TR Ericsson’s installation in private Midwest collection

“A burial interrupted”, TR Ericsson interview on Artsy

TR Ericsson, Can you hear her blacks crackle and drag?, Vacuum formed black polystyrene, 12×12 inches – 30.5×30.5 cm, Edition of 2 + 1 AP, 2018

In his comprehensive and compelling interview on Artsy, TR Ericsson reflects on his “Crackle & Drag” project, an extensive body of work he has been building on after being left with over a 100 years worth of family archive following his mother’s suicide in 2003. The interview offers some great insights into Ericsson’s practice and position as an artist, and contains a couple of thought-provoking quotes that give extra background to his current show “Industrial Poems – Poèmes Industriels” in Brussels.

Read the article here

TR Ericsson at Shaheen Gallery

TR Ericsson, Prisoner of Love, powdered pigment on paper, 56×76 (22×30 inch.), 2018

TR Ericsson will open a new exhibition titled “Blue” at Shaheen in Cleveland on November 16th. The title “Blue”, which refers to the pigment that was used to make the work, resonates the personal story behind the work and the relationship between the artist and the subject, his brother, while at the same time directly linking back to significant earlier works within Ericsson’s oeuvre and carrying with it a set of undeniable cultural references.
Continue reading TR Ericsson at Shaheen Gallery

TR Ericsson’s installation in private Midwest collection

TR Ericsson’s bronze installation at private collection in American Midwest alongside works by Sol LeWitt, Andy Goldsworthy, Roxy Paine, Anish Kapoor, Mark Manders, Ai Wei Wei and others.


I LOVE YOU TOTALLY ALL THE TIME AND ALWAYS WILL, 2018 Bronze with steel armatures Each box 4 x 4’ x 8’ – 122 x 122 x 244 cm Overall 8’ x 5’ x 5’ – 244 x 152 x 152 cm


TR Ericsson “Cinders”

TR Ericsson’s exhibition “Cinders” is now showing at Albertz Benda in partnership with Harlan Levey Projects.

The exhibition showcases specific aspects of Ericsson’s epic archival project “Crackle & Drag,” a ruthlessly honest, yet tender portrayal of his mother who committed suicide at age 57, and of the triangulated relationships between three generations within one Northeastern Ohio family. Ericsson’s first exhibition at the gallery provides a deeper look into one of the many complex narratives addressed in his current solo exhibition “I Was Born To Bring You Into This World,” which runs at the Everson Museum of Art until December 31st 2017.

Pairs of selected works focus on the relationship between a father and his daughter, as told by her son after their deaths. Together they form a mixed-media portrait of two people and three generations of life in the rustbelt. The title “Cinders” refers to Ericsson’s past, his process, motivation, materials and allegiance with certain post-modernist philosophy, particularly an impossibility of existence pointed to in Jacques Derrida’s eponymous book. Similar to archival projects from artists like Marcel Broodthaers or the duo Adam Broomberg and Oliver Chanarin, existing objects and images become distribution systems for agency as they are transformed through rigorous conceptual and formal decisions. Ericsson’s work however, makes private information public in a gesture where politics and institutional critique exist only as generosity, concern and care.

The centerpiece of the exhibition is a two channel video installation reminiscents Hollis Frampton’s Nostalgia. On one wall Ericsson’s mother’s voice is projected in typed sentences pulled from old letters or transcribed from lost recordings. She describes a traumatic relationship with her father, which is deeply personal and at times discomforting to read. Parallel to this, photographs of the family archive are shown as they are slowly burnt and drown in flames. In the shadows of the video installation are two bronze casts of objects inherited from his grandfather. One is of a letter opener his grandfather made from bullet casing while serving in the merchant marine in WWII. The heavy cast bronze is encrusted with a fragment from a typed letter from Ericsson’s mother. In the backspace of the gallery, beautiful handmade ceramic urns are at once art objects and actual reliquaries. These are paired with portraits of his mother and her father at different points in their lives. Their images are blissfully haunted after being covered in their own ashes in one of many movements towards immateriality.

Death is not elsewhere. It is present throughout the exhibition, employed as a secular and spiritual beginning that comes from confronting the inevitable end.

Click here to view an article about the exhibition on Hyperallergic