Erin Vincent experiments with various art forms including assemblages, sculpture, painting, mixed media and collage with the intent of giving homage to the past and present. Vincent edits the material culture of society, breathing life into debris and resurrecting materials that hold a particular significance to her. By reusing and re-contextualizing discarded family mementos, found objects and photographs, forgotten memories are reborn with new interpretation. The appropriated images and objects are elevated to a fine art context in a gesture that simultaneously preserves and remakes personal histories.
Erin Vincent is a Toronto based-artist whose work draws on a variety of processes and media. Vincent is a graduate of the Fine Arts program at the University of Waterloo and received her degree in education from the University of Western Ontario. She spent over four year’s abroad working, traveling and creating art. Vincent exhibits her work locally and can be found in private collections in Canada, UK, France, U.S.A. and New Zealand.
My work focuses on discarded objects and their vestiges; embedded with accumulated history, they hold a power to trigger emotional responses and to act as surrogates for events and individuals.
In a recent series of work titled “Lace Forms,” delicate lace patterns created with tiny metal sewing pins pierce the surface of a series of found objects that have been selected based on personal childhood memories. The contrast of the newly manipulated surfaces against the natural patinas on these once discarded, now retrieved forms, allude to the symbolic armor or guise individuals use in order to navigate a disability or deal with the misconceptions imposed on them.
In the series “Shrouded Pharmaceuticals,” lace patterns sourced from family heirlooms were digitized, then laser cut out of psychotropic medication boxes, suggesting layers of complexity that reflect issues of mental illness. “Markings,” a series of intimate wall-mounted sculptures based on a collection of impressions and doodles from public surfaces and scraps of paper, investigates the ability of the essence or “mark” of an object to act as a simulacrum for the actual object. Both series use objects to stand in as versions of truth and memory, evoking a sense of familiarity and estrangement for the viewer, while hinting at vulnerability and potential menace.
My work explores themes of memory, mental illness and vulnerability, juxtaposed against the use of a variety of repetitive, utilitarian and labor-intensive processes. I employ a variety of materials, wax, bronze, found objects, ephemera, wood, acrylic, salt and silicon.