Eric Dever (born 1962) is an American painter. His paintings are held in the collections of Grey Art Gallery New York University, the Parrish Art Museum, Guild Hall Museum and the Heckscher Museum of Art. Dever has exhibited throughout the United States since the early 1990’s, including exhibitions in Paris, Helsinki and Hong Kong. Dever is represented by Berry Campbell Gallery, New York. (https://en.wikipedia.org/wiki/Eric_Dever)
“…This new body of work stands in contrast to what I first observed in Dever’s painting years ago, when he imposed on his artistic process a serious and disciplined exploration of material and method. For a long while, he limited himself to working entirely in monochrome, only gradually evolving from all white, to white and black, to adding one variety of red: Napthol Scarlet. At the time, Dever was deep into the exploration of material nature, inspired by Yoga and Indian philosophy, especially Samkhya, which teaches that everything in reality is derived from the self, the soul, or the intellect, as well as from creative agency or energy.
Not surprisingly, Dever’s new pictures do not seek to replicate nature, but instead vibrate between representation and abstraction, a kind of rhythmic dance expressing both what he later recalls in his mind’s eye and, simultaneously, how exhilarated he feels while he loses himself in nature….Dever doesn’t paint nature, he paints his experience of it. His personal expression calls to mind an earlier painter who also migrated from Los Angeles to New York City to study painting, then moved out to the Hamptons on Long Island’s East End: Jackson Pollock, who famously responded to Hans Hofmann’s question, “Do you work from nature?” by proclaiming: “I am nature.” As it did for Pollock, the natural landscape…offers Dever both stimulation and direction that has found its way into his paintings.
In Dever’s Southampton studio, set in the picturesque garden that he himself designed…I found myself recalling the garden of Claude Monet (1840-1926), in Giverny, France, which inspired the late paintings of waterlilies that famously disregarded boundaries and moved toward abstraction. Critics have long since linked Monet’s late “all-over painting” to Pollock’s abstractions. Now Dever continues in this gestural tradition…”
By Gail Levin, Distinquished Professor at Baruch College and the Graduate Center of the City University of New York, has written extensively on Abstract Expressionism and other aspects of American modern art. She is the author of Lee Krasner: A Biography and other books.