(Re)mediation

Assemblages of gauze, honey, glycerin, and gum arabic hang in the space like loose skins or wrappings. They shift the understanding of printmaking away from the conventional printing surface toward a space in which process becomes central. The surface dries, drips, and solidifies, responding to time, gravity, and touch. In this way, the matrix becomes not a base but a living situation – a condition in which form emerges slowly and perpetually remains somewhat unfinished.

Care work occupies a central place in Erikson’s practice. Materials must be approached attentively – through observation, waiting, and intervention only as needed. If something is left undone, the surface remains empty; if intervention is too forceful, the material loses its agency. Gum arabic, traditionally used in printmaking as an auxiliary medium, becomes an active participant in the work – an agent that binds, cracks, and records contact.

The works do not submit to the artist’s full control. Stalactite-like formations of gauze and gum arabic develop according to the material’s own rhythm, responding to time and touch. What matters is not a finished form, but the trace that emerges through contact. In this way, the work comes into being as an experience of transformation itself.