Reviews of one and two person exhibitions

"Imagine bodies insinuating their way through the web of a screened door, spilling out into the street, their movements backlit by candlelight. That's the look of Eric Boyer's figure art, which is made of fine wire mesh-the stuff of screened doors. You may not think of flesh and metal as equivalents. But Boyer persuades you that wire is supple muscle. The figures appear to move in slow motion, all of their pressure points relaxed, as if in liquid. You have to see this. There are no faces, but you think you see the planes, the angles of cheekbones and jaws. Undulations, dimples, voluptuous crooks and curves also have you believing you're looking at flesh. The robustness of Boyer's figures and their vigor recall that of August Rodin, who sketched from moving models. The modern master purposely avoided posing his subjects to capture what reality spontaneously offered him. It's clear that Boyer knows about this. And like Rodin's figures, those of Boyer convey mental states: desire, dreaming, waiting. Headless, Boyer's bodies also resemble ghosts from a lost time. Their poses suggest those of satyrs and Amazons in classical Greek art. At times you think you are looking at the goddesses attending the birth of Athena, the only thing missing being the Parthenon on which they stand. But if you concentrate, you'll think you see that , too. Beyond the likenesses to other art, there's the motion of the figures:Like ripples in water. It stops the eye. There's no rapid movement here. Boyer's figures billow with breath. Add in that they're sensuously wrought, and you feel like a voyeur eyeing private moments. In a world of photo-real figure art, Boyer's come across as more nude. It's all in the bending of a wire. Rodin was right when he said of Rubens' figures that their coloring is nothing in itself. Their flaming hair, their intense rouging amounts to nothing without the joy of being that he gave them. Boyer doesn't need color to show the human experience, either. The imparting of sensuousness is everything."

- Joan Altabe, Art Critic(FL)

"Lace-like, they hang in their own shadows, light shining through with a near spectral quality"

- Bennington Banner(VT)

"Boyer is a magician with his material, divining figures that will have you believe you're looking at undulating flesh. Impeccably wrought... unheard of."

Boyer's most characteristic work is clearly reminiscent of classical Greek or Roman sculpture, but always seen as incomplete relics of an original glory, monuments to ideal or heroic beauty that survive only in fragments. With his faceless torsos, Boyer evokes images that come to us already tinged with a sense of loss: beauty is both eternal and fleeting.

He typically includes little flourishes of fabric--gatherings at the feet or scrolls and folds along the edges--as if to remind us that we are not viewing traditional representations of nude figures, or even veiled nudes. Boyer gives us the veil itself, the veil and the almost ghostly impression it preserves. We are left with something midway between the memory of a beautiful image and the image of a beautiful memory.

Which is very much as the artist first conceives them.

His figures thus originate as half-remembered, half-imagined images of physical beauty, and these are the images he conjures up for us: sensuous, elegant and haunting.

Carl Bandelin(NM)




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