Gallery of Eric K. Lerner’s Prints


RUSSIAN REVOLUTION

In October 2017, Eric K. Lerner’s work was featured in an Exhibition 1917 Tarot in St Petersburg, Russia, commemorating the 100th Anniversary of the Russian Revolution. The Exhibition traveled to Madrid, Spain the following year. It is has immortalized in the brilliant 1917 Tarot from Silhouette. In addition to Lerner, the exhbition and deck featured works from Osvaldo Menegazzi, Giordano Berti, Robert Place, Alexander Daniloff, Carlos Pumariega , Silvia Ordoqui and 33 other international and Russian artists.

“In working on the prints for the deck, I was profoundly moved at how the issue of individual identity, one’s place in history and earth shattering events combined to become an alembic for myth-making. Still I couldn’t get over the terrible human tragedies which took place against a backdrop of historical destiny. Zaniada Raich waiting alone in her apartment for the Secret Police to savagely murder her, knowing they were coming and having frantically sent her children away so they wouldn’t join her as victims. Did members of the the Russian Royal Family think about becoming canonized by the Orthodox Church when they were executed? What of the servants who were slaughtered with them. One generally becomes mythologized through individual tragedy. It’s a theme that occurs throughout my work. I still have sketchbooks full of images inspired by the Russian Revolution and later historical developments in Russia…”

All of these works are hand made prints, using a wide range of techniques, including etching, monoprinting and silkscreen.

MISCELLANEOUS ETCHINGS OF DEMIGODS AND SPIRITS

“Etching was the first printmaking medium I learned. It is still probably my favorite. I like doing short variable editions of about 6 to 10. Of course I certainly produce some uniform editions for trade shows, galleries and commissions. Still I think of every print being a unique work of art in itself. In my personal work I am drawn to themes of how my subjects come to be realized as icons. I try to focus on states where liminal boundaries break down.”

Experimental Prints Using Silkscreen, Woodcut, Transfer and Gelatin Monotype

“Every printmaker likes to experiment. For instance in the silkscreen sample, the idea was to produce a series of prints using pages, sometimes flipped, from The Anarchist Handbook overlaying the yellow channel from cmyk bitmaps. Everyone thinks that the face-like figure is you know who but it’s actually the yellow channel from a scan of a gelatin print depicting The Devil. I used very loose inks. I wanted to mimic the appearance of photocopied zines and mimeographs from the days of the No Wave Scene in NYC, where I developed much of my aesthetic and was lucky enough to engage with many of the leading counter-cultural figures of the time. So I chose loose inks that would to evoke photocopy and mimeograph ink.

When it comes to woodcut, I often work quickly with just a light sketch on the wood and try to unearth shapes from the wood grain pattern rather than work in a more clearly delineated style. In this example there was no underlying drawing. I frenetically exaggerated the grain and cut and gouged away until the figures emerged.

With the transfer print example I worked form a color and black and white laser print from another photo I took back in the 1990’s I collaged these with the Daily News Headline from Judy Garland’s funeral, which was the same day the Stonewall Riots broke out. I use a combination of burnishing techniques and let the solvent pool in places and scarcely touch others to create more painterly effects.

Finally with gelatin monotyping I often impress a linocut directly into the already inked substrate. I vary the colored paints or inks between impressions of both organic and inorganic object to create textures.”