Javier Díaz-GuardiolaSEGUIRPalma of Mallorca Updated: Save Send news by mail electrónicoTu name *
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full Name: Eryk Pall. is date and Place of birth: Dijon (France), in June of 1982. is current Residence: Málaga . is Training: I Did a first training of two years in a private school of Montpellier (France), which mixed fine art and applied arts, with art History, academic drawing… And also design, architecture, visual communication or advertising. Then I did two years of 3-D, movies and animated films, and two years of illustration and comics. is current Occupation: I Started to learn engraving with Paco Aguilar in the workshop Gravura (Malaga) in the short time to reach Malaga. There I’m now. I also dedicate myself to my work and to show it in solo exhibitions and collective shows. Once in a when you work for a game company as a “tester”.
What you are interested in. My work is based on personal research. I need (and a lot) to understand things, to know how we relate, think and function, alone and in groups. I think the visual expression as a kind of graphology; my mood, my feelings, or the changes of habits, I transformed as a person. Also the way of expressing myself. So, working from that side is a way to make evolve also the technique.
“Attraction and Repulsion”s Law” – E. P.
where it comes From. EHe exhibited my work in almost all of Malaga and the surrounding area (Mijas, Coín, Fuengirola, Jaen…). Also in Bilbao, Madrid, Switzerland, Italy yBélgica. I would highlight appointments as Nadir, in 2016 (Gravura, Málaga), The texture of water, 2017, and Back to School in the past year (ACL, Malaga); The shorter way to cross the desert, also in 2019, the Provincial Museum of Jaén; The Attraction and Repulsions Law, in Gloart (Belgium), or The Facts, in Ittigen, Switzerland, in 2018.
“Living Room”, from the series “Conflict of Interests” – E. P.
he Knew that he would devote himself to the art… I, since a child, I knew that I wanted to spend my life creating, but without thinking in a particular profession. I just wanted to be able to express everything I had in the head. That’s why I chose to train as I did. After working in cartoons and video games, I felt limits. I started to expose because he was born of a need for unlimited creation without brakes, of absolute freedom, would say.
E. P.
What is the strangest thing that has had to make in art to “survive”? for Some orders with no regard –or knowledge-aesthetic– people who ask me a horrific image and that you know, within yourself, that you’re going to contribute to make the world worse than before there was that image. To survive, I prefer to pull jobs food-related art to my way of seeing it is pure.
“The guide” – E. P.
Your I’s “virtual”. I do Not have personal account, only professional. What I use is instagram, it seems to me practical. Networks require a feed constant and it cost me. I use: digital cameras, photoshop, illustrator, 3D programs… I reconciled myself with the selfie in the exhibition of Ai WeiWei at Le Bon Marché. I realized that it helps to put a face to my work, but I despair to see you have more “likes” to my works.
Where you are when you are not making art. I’m starting to tattoo! I have already touched on some skins, but even as an apprentice. I give drawing classes in a timely manner and individual. Before the quarantine was I that was receiving photography classes, which I hope to resume.
“Glitch 1”.
you Will like if you know… Make a list of my references: Magritte, Dali, Escher, Caillebotte, Christo and Jeanne-Claude, Mucha, Schiele, Leyendecker, Edward Hopper… And here I leave you a potpourri unfinished name: David Umemoto, Have Hsu Tung, Cristina Savage, Troy Coulterman, Yin-Chen Chiang, Jaime Pitarch, Sainer, Etam, Sparth, Joan Roukes, Juanjo Fuentes, Raphael Lacoste, ARYZ, BomK, Sebastian Navas, Jorge Hernandez, Jeremy Geddes, and Marie-Claude Marquis.
Snippet of “Hang on it” (2020) – E. P.
What you bring in hand right now. My work is focusing on extending the spatiality of the drawings, straying a little from the realism, developing the narrative, and investigating the color. After the covid, the cultural world suffered the lack of support not to be considered a profession. That’s why, during the month of June I will be in The Yellow House working live, for the public to see me draw, and so raise awareness of the work we do, the artists and all the hours of work that this entails, to distinguish it from the one who considers it a hobby.
– Fragment from “The Pathfander” – E. P.
favorite Project so far. I have some. As a series in pencil on cubes of white cement in the form of a mosaic. Also I highlight a project that I launched in 2017. A work is “evolutionary”, carried out by parties. Of time measured more than 6 metres x 60 centimetres, all of it done with mines of 0.5 millimeters. I am proud because it is the largest that I have made with tools so small. And my series Nadir, that they are my first prints, some of them award-winning.
– Fragment from “The Texture Of Water” – E. P.
why we have to trust in him? do Not try to convince anyone that I do art. My purpose is that my speech to be as comprehensible as possible, using visual codes of the history of art as also of the illustration, the film or the comic. I don’t think that the classical painting, for example, should disappear because it has already been done. I like more the idea of adaptation and mutation of the codes. If, in addition, I can raise awareness or make people reflect on themselves, the world around them or how the world works, the better.
“Glitch 2”
Where do you see a year? I Want it to be creating, because I do not want to stop. My art can’t depend on my success. I really like the concept of the factory of Warhol. To have a team to be able to do more things, as a cultural space with residences where also help others who are fighting for the art. It seems to Me more easy to be able to create a synergy with several people.
who passed the witness of this interview? Cristina Savage.
Defínase in a stroke.
