The title of this painting refers to the posture of the central subjects, bent toward the right as if following an unseen light source. This composition is one of the artist’s first attempts at a circular work; it is also one of his early attempts to develop his signature, abstracted forest scenes. For the artist, the circle evokes both the Italian renaissance and contemporary art. Paired with the imagery of the forest, the format conveys both the rooted and the unanchored. In the artist’s current body of work, trees and their understory become tools for the artist to conjure up childhood experiences growing up in rural Georgia.
Hancock has a tumultuous relationship with solid form and narrative, frequently turning his paintings toward the abstract. The artist was raised in rural Georgia, and his childhood was often spent looking up at the understory of windswept trees, which he conjures through the language of abstraction. The artist pairs his subject matter with his interest in formal experimentation. Drawing inspiration from Japanese woodblock prints, Hancock's landscapes are distorted to the point of fantasy until they are almost swallowed whole by sumptuous, solid colors. In the artist's work, the discontinuities and distortions follow a surrealist logic—functioning like lucid dreaming.
Eric Dwight Hancock creates abstracted paintings of windswept trees and other natural imagery that conjure memories of his childhood in rural Georgia. Inspired by Japanese woodblock prints, the artist distorts his landscapes to the point of fantasy—until they are almost swallowed whole by sumptuous colors. The discontinuities and distortions of Hancock’s work follow a surrealist logic, functioning like lucid dreaming.
The title of this painting refers to the posture of the central subjects, bent toward the right as if following an unseen light source. The composition conveys both the rooted and the unanchored—while also conjuring the artist's childhood experiences growing up in rural Georgia.More