about
erica vhay - painter, artist
In both my figurative and abstract city scapes I am intrigued by capturing a moment, a pause in the day that otherwise moves on unseen. Within that moment there are patterns and negative shapes that create a beautiful abstraction. In my recent work I am looking to push that abstraction so that these shapes become as important as the subject matter. These shapes create the composition, which in the end decides the success of the work.
In my work I rely heavily on process. There are many layers and weeks in drying time - and these striations can be seen through the top layer. The edges are often left raw as is consistent with this process system.
On the final layer I place the paint on the canvas and leave each stroke as it was applied. This honors the direct quality of the paint and my process. In some of my current abstract work the final layer is painted in one long stretch. I don't go back to rework the piece. How I am feeling on that day, that moment, can be seen in the brushstrokes: cautious or brave, random or studied. Some days I feel impatient - and I can see that in the work as well. Sometimes these are the best paintings! I believe art is more powerful if the viewer can see evidence of the painter in the work.
Shiele, Richard Shmidt and John Singer-Sargent supplied the inspiring lines and palette, Erica supplied the 10,000 hrs. Trained in sculpture in the land of Prefontaine, rain and cafes, Erica took up the task 20 years ago when her boys were still tearing around in diapers. After teaching herself graphic and web design, she rolled up her sleeves and started on painting. 10,000 hrs twice over brings us up to date.
After a divorce, empty nesting and other common mid-life transitions, Erica is pondering the art of less, letting go of controls, and finding enjoyment in being here. Her current work is looser, more energetic and unafraid of both the journey and the destination. “It’s always been about the accumulated moments leading toward an end. In the work, the process and layers of paint are only becoming more apparent.” Her ballerina series, particularly ‘Lily Pads’ - with a hint of Degas and a nod to a title by Monet - relishes this journey: the preparation of these ballerinas for their public act. But the magic and beauty is caught in the before - the uncensored moment where vulnerability is high and the imperfect beauty can be seen.
Raised in a family of artists, most notably Erica’s Great Grandfather Gutzon Borglum (Mt. Rushmore sculptor and 20th century American Sculptor and painter), art was an everyday occurrence. There was no question that Erica would become an artist. “It’s who I am and what I’ve always known,” says Erica. “The only question is which medium?” As a small child growing up with a schizophrenic mother, and sometimes living on the streets, Erica learned adaptation and perseverance as well as seeing the world as her mother did: in design, patterns and shapes. “My mother was a very emotional painter. If you didn’t capture something - a feeling, an emotion - it wasn’t a good piece.”
Erica Vhay attended the University of Oregon for her degree in Fine Art. Her focus was sculptural ceramics, drawing and painting. After graduating she has worked professionally in graphic design, web design and painting. She has pursued oil painting in earnest for the last 20 years.
She lived in Arizona for 26 years, recently taking a hiatus to Denver, Co for a few years. She is looking forward to returning to Tucson in the winter to be close to her family.
Galleries:
Marshall Gallery of Fine Art, Scottsdale, Az
602.480.5391