REALITY SAVES Lori Raye Erickson’s solo exhibition 09.10.21 / 10.22.21
Studios Inc Studios Inc provides studio space, professional development, networking, and exhibitions for mid-career artists in Greater Kansas City. We engage the Kansas City community through our Exhibition Series Program, which exhibits resident artist works throughout the year, free to the public Launched in 2003 to serve mid-career artists, Studios Inc is Kansas City’s nonprofit arts organization that offers pivotal three-year residencies to mid-career artists who are poised to significantly expand their careers in accordance with the career goals articulated in their residency application. Its competitive application process, sharp focus on career advancement, and commitment to serve the under-served population of mid-career artists set Studios Inc apart from other artist-support organizations. Studios Inc offers a unique immersion experience for resident artists, who use their studio and exhibition space to produce and exhibit work, network and learn from one another, and attract and cultivate relationships with art patrons, collectors, and arts professionals.
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Lori Raye Erickson’s Reality Saves By Courtney Wasson
Lori Raye Erickson’s (Studios Inc. resident 2019 – 2021) solo exhibition, REALITY SAVES, acts as a critical survey and the artist’s grapplings with social issues, such as political discord and religious hypocrisy. The work presented in this exhibition featured paintings, assemblages, and sculptures that showcase Erickson’s interest in materials and the act of collecting. In her latest work, the artist seeks to pose questions, issues statements, and take a stance against perceived societal wrongs. Erickson engages the viewer through irony, a sense of shared nostalgia and collective memory. The artist relies on history and context by incorporating collected vintage objects and imagery in her paintings and sculpture. Vintage objects, like picture frames and children’s toys, along with mid-century imagery, such as caricature drawings and cartoons, that are often linked to the idea of a “better times” that underlie “make America great again” sentiment, are placed in contrast with toxic materials and/or various statements such as “In God we trusted.” This dichotomy is meant to highlight the ugly underbelly of truth that our romanticized nostalgia often glosses over.
The sculpture, Made in the USA (2020), is one of the first artworks a viewer encounters in Erickson’s exhibition. This object successfully negotiates the contrast between form and material to evoke social and political commentary regarding lead poisoning and children. To create Made in the USA, the artist wrapped an entire vintage high chair from the 1950s in lead. Her thorough attention to detail shows great dedication to craftsmanship. A patchwork of soft lead panels secured with small wire nails allows the viewer to see the original shape of the high chair. Erickson then re-created the playful vintage imagery of a bear riding a lamb and accompanied by little birds that originally existed by engraving it on the chair’s back. On the tray of the high chair, Erickson included a cast lead vintage pacifier. This work encapsulates Erickson’s interest in irony by exploring objects and behaviors that are meant to soothe or nurture but actually perpetuate harm. The relationships between function and material present in Erickson’s work help to draw out her split perspectives and ironic intentions. The high chair and pacifier evoke ideas of nourishing and nurturing children. Erickson's choice of lead as the material that cloaks the high chair contrasts notions of wholesomeness and care with that of the potential threat of poisoning.
Without direct reference, the water crisis of Flint, Michigan comes to mind, a situation in which thousands of children were exposed to drinking water that had dangerously high levels of lead due to the city’s aging pipes. Therefore, this work also touches on concepts of responsibility and the accountability of people and institutions with power and authority; i.e. family, caregivers, school, and government to make decisions that are in the best interest of people’s health and well-being. Erickson’s focus moves away from material as a concept to that of religious objects as a point of reflection in her largest series in the exhibition. Except, WWUD (2020), that references Christian culture via the title and prominently features the cartoon character “Underdog” flying with the scales of justice, most of the works on this wall depict objects and/or imagery from Christian culture such as a bible, a mirrored image of the Christ with lambs, brimstone, and a crucifix. Erickson imparts direct criticism of the Christian faith and the hypocrisy the artist sees in Christian behavior. While she presents a sharp criticism, it is communicated with a sense of community and humor. The largest installation in this series, In God We Trusted (2021), is a wooden sign with three-dimensional gold letters that spell out the title of the work. The second “T” in “trusted” has been replaced with a gold crucifix. Arranged under the sign is a collection of cardboard messages purchased by the artist from people without housing. Some of the signs read “HUNGRY PLEASE ANYTHING”, “U.S. ARMY VET CAN USE A HAND GOD BLESS!”, and “HOMELESS DISABLED ANYTHING HELPS GOD BLESS!”. In the center of these signs, there is a piece of cardboard created by the artist which reads, “HOMELESS GOD BLESS YOU” in two lines with “HOMELESS GOD” above and “BLESS YOU” underneath. The piece comments on societal privilege, irreverence, and lost or misplaced faith. The work also calls into question the Christian faith and its responsibility and accountability as a community to those calling out for help. The title work of this exhibition, Reality Saves (2021), has outlined letters that mimic the look of a neon sign. Often Erickson will use common idioms or play on words as the subject of her work. For this work, the artist altered the common saying “Jesus Saves” by replacing the word “Jesus” with “Reality”. White and red LED tubing outline the letters of the sign but it lacks the sound and heat of an actual neon. However, the light-source is programmed to flicker on and off. Reality Saves acts as a beacon in the space with inconsistent lighting drawing attention to its message. The artist may have used this inconsistency to recreate the behavior of a neon sign when first turned on, while also suggesting a lack of power to sustain the sign and its message.
Three works in the exhibition prompt discussions on race. Wypipo (2021), is an amalgam of racist terms for white people presented one after another in rows of stenciled letters. You’re an Asshole (2021) is a sculpture centered on the wall of an artist sourced ceramic hand that is making the “OK” gesture. This work is meant to reference the contemporary shift of this gesture’s use as a hate symbol by far-right political groups and white supremacists. The third work in this group, The Audacious Reflection of the Color White (2021), is a white ornately framed canvas. Inside a thick white stroke of paint, at the center of the work, is scrawled the word “white.” Erickson shifts her focus from religion to race with this grouping. The works are monochromatic, existing completely in shades and hues of white. The exclusion of color becomes the underlying concept of the work, whereas the titles of the work help orient the viewer to the artist’s social beliefs and perspective. Around the corner from these works, Erickson has presented three paintings that reference specific cultural and political persons. Have a Nice Life (2021), a framed mixed media painting, features the likeness of two icons who famously disappeared: American aviation pioneer, author, and first female aviator to fly solo across the Atlantic Ocean, Amelia Earhart and American labor union leader involved in organized crime, Jimmy Hoffa. While Will God Show Mercy on Those Most Vile (2021), another framed mixed media painting, features unflattering caricatures of individuals from Donald Trump’s presidential administration. Yes, Me Worry (2021), a painting on canvas, features “Alfred E. Neuman,'' the mascot for Mad magazine, an American humor publication founded in 1952. Erickson placed the mascot in front of a black and white checkered pattern, obscured by black drip marks which originate from the upper edge of the painting. On the upper part of the painting, Erickson created a black band containing four outlined circles with triangles in different positions. Historically, the triangle has acted as a symbol representing the four elements: air, water, fire, and earth with references to alchemy or the Pagan Wicca religion. The symbol of an upwards triangle within a circle also has connections to substance recovery groups such as Alcoholics Anonymous. Another reference to the triangle symbol is its use during WWII, where Nazis used pink triangles to target homosexuals and transgendered peoples. Later, this symbol became a part of the gay liberation movement of the 1970s. Erickson mirrors these four circles in a band at the bottom of her painting. Each white circle contains a symbol: the peace sign, infinity symbol, a white circle, and a bullseye. Flanking this colorful, satirical figurehead in a variety of symbols in Yes, Me Worry, reads as a critique of the babyboomer generation.
The final portion of the exhibition space showcases three sculptural pieces: one stand alone sculpture, titled Columnized (2021), and two wall mounted pieces. The two wall-mounted artworks are similar in scale and form and, for the most part, differ primarily in color: one work, titled Sculpture Study No. 1 (Lead) (2021), consists of two wooden pieces painted silver and presented on a wood shelf with hammered lead. This artwork is mirrored and contrasted by the other piece, titled Sculpture Study No. 2 (Copper) (2021), which acts as a twin to the first study, with material and color being the main difference. Unlike the rest of the exhibition, these works seem to stand alone as abstract sculptural investigations centered on form, material, and color. The stand alone sculpture, Columnized, adjacent to the two studies is a tall column that takes on the appearance of a missile or whipping post. Like her sculpture, Made in the USA, Erickson covers the work in hammered metal affixed with nails. Columized also acts as a collage of texture and material with the artist incorporating different vintage and found items into the piece, such as the metal lettering that spells out the word “BYE” and various spikes here and there. At the top of the sculpture hangs a chain with a large ring at the end. This element reinforces the allusion to a whipping post. The title of this nine foot tall sculpture is another play on words and references colonialism, slavery, and white supremacy. Lori Raye Erickson’s exhibition juxtaposes ideals, beliefs, privilege, observations, and experience. The exhibition itself reads like advocacy and attempt towards social justice. Under the guise of nostalgic imagery and symbolism, Erickson’s exhibition uncovers the artist’s frustrations and pulls on the like-minded viewer to say, “Yeah, we see it too.” The artist’s call to action is the recognition of wrong that is required before justice.
Holey Theory, 2021 Altered found object 29 1/2 x 26 x 2 inches
2020, 2021 Assemblage 16 x 16 x 1 1/2 inches
Ruination, 2021 Assemblage 32 x 4 1/2 x 3 inches
Detail of Ruination, 2021 Assemblage 32 x 4 1/2 x 3 inches
The Bigger the Cross the Bigger the Scoundrel, 2020 Assemblage 39 x 14 x 2 inches
No Tresspassing, 2020 Assemblage 45 x 19 x 4 inches
WWUD, 2020 Acrylic and enamel on canvas 61 1/2 x 38 x 2 1/2 inches
In God We Trusted, 2021 Installation Dimensions variable
There’s a Thin Red Line Between Faith and Hate, 2020 Acrylic, enamel, and glitter on canvas 61 1/2 x 38 x 2 1/2 inches
Reality Saves, 2021 LED 9 x 74 x 2 inches
The Audacious Refleciton of the Color White, 2021 Acrylic on canvas 46 1/2 x 40 x 3 inches
You’re an Asshole, 2021 Artist sourced ceramic object 3 x 3 x 9 inches
Wypipo, 2021 Acrylic and enamel on canvas 36 x 48 x 1 1/2 inches
Yes, Me Worry, 2021 Acrylic and enamel on canvas 48 x 36 x 2 1/4 inches
Have a Nice Life, 2021 Acrylic, metal and wood on wood 26 x 20 x2 inches
Will God Show Mercy on Those Most Vile, 2021 Acrylic, metal, graphite, and wood on wood 42 x 34 x 2 inches
Sculpture Study No. 1 (Lead), 2021 Metals on wood 18 x 17 x 9 inches
Sculpture Study No. 2 (Copper), 2021 Metal on wood 18 x 17 x 9 inches
Columnized, 2021 Metal, sculptmetal, and found objects on wood 108 x 18 x 18 inches
Made in the USA, 2020 Lead wrapped high chair and cast lead pacifier 37 x 20 x 20 inches
Lori Raye Erickson Erickson was born and raised in Des Moines, Iowa. She spent her formative years studying at the Des Moines Art Center and then earned her BFA from the Kansas City Art Institute. She’s been awarded the Charlotte Street Grant, the Avenue of the Arts and Liquitex Award of Excellence, among others. Erickson’s work can be found in various collections around the world. Erickson addresses the political, cultural and economic landscapes through humor. Mediums such as painting, drawing, installation, and sculpture are a part of her repertoire and she allows her message to manifest freely within the artwork. Erickson states that “to be a part of something so lasting and encouraging of mid-career artists in Kansas City is just incredible. I look forward to being productive in the space, producing larger works as well as multiple pieces simultaneously. I intend to utilize this opportunity to tighten my career focus and build a portfolio that creates new opportunities previously unavailable to me.”
Photography credit: E.G. Schempf
Studios Inc’s three-year residency program provides a unique immersion experience that allows mid-career artists to use their studio space to conceptualize, produce, and exhibit their work. Studios Inc serves the Kansas City Community and Crossroads Arts District by offering a free, open-to-thepublic exhibition series throughout the year, which includes opening receptions, First Friday receptions, artist talks, regular gallery hours, as well as scheduled tours and events. It is our hope to showcase and promote high-quality, interesting artwork to both visitors and members of the Kansas City community. Courtney Wasson, Executive Director courtney@thestudiosinc.org thestudiosinc.org