Introducing Eric Haacht
Guy Hepner and The TAX Collection are excited to release a series of unique paintings by Eric Haccht. Please reach out to email@example.com new email or call (212) 226-8680 for information on the artist and their full availability.
How do you think being self-taught has impacted the way you make art? Does it make you stand apart in any way?
It’s not something I have thought about too much. I’m sure it must have impacted my work somehow. I have had to figure out a lot of things for myself and am continuing to doing so. I’m not aware of many ‘rules’ of painting and I don’t think I would care for them even if I did know them. I want to paint things I don’t know how to paint and maybe the only way I can do that is by not really knowing what I’m doing at any particular time. As if to make the paintings by mistake.
Before this interview, we were familiar with your work from social media — how do you think it has impacted your role as an artist?
I think social media has become a huge part of being an artist. It has allowed me and to have my work seen in a way I don’t think would have been possible in the past, especially that I don’t live in a major city. It’s allowed me to find and be influenced by other artists from all over the world which I think is a great thing.
What artists have inspired you and your work?
Many artists inspire me. Mattise, Picasso, Auerbach, Bacon of course are all big influences. In terms of contemporary artists, I love people like Paul Kremer, Jonas Wood, Revok, Danny Fox, Robert Szot, Antwan Horfee, Felipe Pantone to name a few. There are so many great artists.
How have you found inspiration during this past year?
The last year has been a hard one for all of us. I feel I have been lucky as it hasn’t affected my practice too much, maybe it has allowed me to really focus on my work. I feel like the whole world has slowed down to my pace. I have essentially spent the last ten years in a room painting so, in a bizarre way, it’s made me more focussed and allowed me to tune out the outside world even more.
What is your process as an artist?
I don’t have a set process as such. I paint every day and the works are made quickly. I see them as almost daily entries.
In looking at and reading about your work I have found there are things you are looking to demonstrate on the subjects of immediacy and artificialness of life, and how time and form are a ruse. This sparks a lot of questions for me as I have recently read Aristotle’s Physics but that might get us a bit off-topic, hah. Where or how did you find these ideas in the world around you and how did you then usher them into your work? Do you think these concepts change the function of your art and if so what is that function?
I have always been interested in ideas around time and space, and what reality is. When I first discovered the hologram theory it fascinated me. Thoughts of, what is real and what is artificial. What is time and how we relate to the immediacy of the moment we are in. These ideas leak into my work. It’s why movement in painting excites me. it creates a sense of immediacy.
What are you looking to say about identity in obscuring faces in this way?
I’m not sure I’m saying anything. I don’t have too much to say with my work. They just come from a need to paint. It’s what naturally seems to come out of me. I guess if pushed I would say I’m trying to paint the ‘inner’ world of someone and therefore the outer identity does not become too important.
How do you feel your painting has progressed over the years?
I think they have become more refined, maybe a little loser. I don’t seem to paint the eyes nearly half as much anymore. I try not to think about past works too much or how I’m processing. I don’t want to be too involved in the works, in a conscious sense. I will just get in the way. So I try to let the paint do as it wants and hope that some ‘truth’ or energy is captured.
What do you hope people might see or walk away with when experiencing your art?
I’m really not sure, to be honest. I don’t really think about the viewer when making the works. Of course, if they feel something towards the works that great. If they connect with it then that’s a good thing but I try not to think about it too much as maybe it puts pressure on myself that I don’t want.