Erin

Curtis

Leisure Days

2020, Acrylic on cut canvas, 60 x 60 in

$
0
Price available upon request

Erin

Curtis

Egg Hunt

2019, Acrylic on cut canvas, 48 x 72 in

$
0
Price available upon request

Erin

Curtis

Day + Night

2020, Acrylic on cut canvas, 48 x 72 in

$
0
Price available upon request

Erin

Curtis

We Are Living On A Star

2019, Hand cut glazed brick, 20 x 25 ft

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Erin

Curtis

Backyard

2020, Acrylic on cut canvas, 60 x 60 in

$
0
Price available upon request
Erin Curtis

About the Artist

Erin Curtis is an artist living and working in East Austin. Her recent work explores an interest in geometric abstraction and its historical roots in weaving, nature and ritual. Primarily working as a painter, she also creates, large-scale, site-specific installations and public art projects with a painter's sensibility.

Curtis had solo shows at Galveston Art Center (2019) Conduit Gallery, Dallas, TX (2017), CalPoly San Luis Obispo University, California (2016), and at Flashpoint Gallery (2015) in Washington, DC. She has created commissioned works for the Chicago Transit Authority, City of Washington DC, Art in Embassies, The City of Austin, Moody Center for the Arts, Rice University and Intelligentsia Coffee, Austin. Curtis attended the Skowhegan School of Painting and Sculpture in 2010 and was awarded fully funded residencies at Anderson Ranch (2012) and Vermont Studio Center (2014). In 2008-2009, Curtis was a Fulbright Scholar in Jaipur, Rajasthan. Curtis graduated from Williams College with a BA in Liberal Arts in 1999 and received her MFA from the University of Texas at Austin in 2007.

Artist Statement

My recent paintings are labor-intensive, with dense surfaces of cut and layered canvas that appear to be trembling and not quite stable. Through a process of painting, cutting and repositioning sections of canvas, I bring out tensions and harmonies between patterns and colors that are physically and optically intertwined. My paintings are balanced with acts of chance and deliberation, creating moments where the surface moves both fast and slow at the same time.

I find great inspiration in the geometric, interlocking forms of Islamic architecture and textiles, 'Premodern' minimalist Indian tantric paintings and early 20th century weavings that exploit and expand their gridded constraints.

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