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Erica Hart

@surrender__surrender

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A personal archive
Studio: @erica_hart

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I 🤍 the west coast // my new collection of books, the bride, field walks, friends, more friends, lover, lover & Frida, hot dogs, slug, goat, sister 🕊️ by @surrender__surrender

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21 days ago

studio dump by @surrender__surrender

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a month ago

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#curlyhair #2ccurls #curlycut #babybangscurlyhair #curlybangs by @surrender__surrender

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2 months ago

Summer findings //

Mom’s beautiful hands, chamomile patch, Toni on Dundas West, train feet, peeling paint, lychee nail extension, moving paintings, sun selfie, charcuterie dinner by @surrender__surrender

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3 months ago

Reflections on Influences and Attention // My art education really began in high school when I was first introduced to Marcel Duchamp and Tracey Emin. I thought a lot about “Fountain” and “My Bed”, seduced by the way these highly specific, mundane everyday objects could be transformed through context and intent.

I also think a lot about Bruce Nauman’s “Walking in an Exaggerated Manner Around the Perimeter of a Square”. After finishing his MFA, he rented a vacant grocery store as a studio and immediately hit a wall creatively. In a massive breakthrough, he realized that if he was an artist and he was in his studio, then whatever he did in that studio must be art.

What I took from all of these works early on was an attraction to documenting and archiving. To me, they were archivists of the everyday. They also taught me the power of attention. Duchamp didn’t build a urinal, Emin didn’t manufacture a bed, and Nauman didn’t invent walking. What they did was bring an extraordinary level of attention to ordinary things—taking something boring, mundane, or seemingly futile, and holding it up to the light to say, “Look at this.” They turned the act of noticing into a form of creative authority.

I now see myself applying this to my own practice. Like Nauman, when I am stuck, I treat the restlessness as the material and accept that an artist’s everyday activity is the art. That friction becomes physical marks, allowing me to truly draw endlessly. It is also through Nauman, as well as Buddhist philosophy and mindfulness practices, that I learn to observe simple, pedestrian rituals—walking, traffic, birds, sensing—and translate them into abstract compositions.

My work functions as an observational documentary; like Emin, I am deeply interested in the traces we leave behind. And like Duchamp, I am holding an unglamorous reflex of noticing up to the light to say, “Look at this rhythm.” This sensory mark is heavy. It was hard and agitated and loud, or it was delicate, feathered, and quiet. This person walked a very long way, so the path they walked makes long, winding marks—or this bird’s marks are staccato on the page.

Portrait shot by @ashlynn_steeves by @surrender__surrender

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3 months ago

blurry pics for the finsta to show that I do in fact have long hair again by @surrender__surrender

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7 months ago

🤍 by @surrender__surrender

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10 months ago

little bits of life as of late // half put on sweater, putting on sweater, heat rash from hot water bottle, love, cà phê rang in Toronto (amazing), sunset, empty ttc ad board, tea leaf reading, dried florals taken in Montreal, Quebec by @surrender__surrender

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4 years ago

morning hair 👀 by @surrender__surrender

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4 years ago

by @surrender__surrender

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4 years ago

cozy taken in Montreal, Quebec by @surrender__surrender

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4 years ago

just werking and slaying by @surrender__surrender

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4 years ago