Eric Schmid with Mattea Landry,
Schmitten.
Sun Light Afternoon.
June 10th - July 2nd
Eric says he used to need to be the life of the party; every social setting was an obstacle course to him. With only a few friends he still sets himself aflame. Trying to hit on tons of women that would otherwise paralyze him, and starting fights he would always lose. Eric writes checks he can’t cash. His brazen search for art that he believes in, and for companionship, is actually the thing that attracted me to him the most.
Eric says I’ve sexually rebirthed him. What he means to say is that he felt destabilized, sexually, and that I’ve breathed new life into how he understands himself because of it. In fact, he says I’ve rebirthed his relationship to women in a general way also. Eric can say so much with too little, and so little with too many words; he sometimes stumbles around words like the Little Tramp character in Modern Times stumbles around his duties at the assembly line. That’s why I wanted to write for him today.
Drawings of American Apparel thong underwear on personalized stationary (yes, the kind I wear) will be exhibited with two sets of paintings. One body of work is silkscreens layered atop ridiculous criticism of a show he curated in Detroit and other ephemera like a receipt for donating money to ACLU, all on top of wood panel. The other paintings are on canvas, of us in the shower embracing each other in different positions; I oil painted these on pages of Eric’s old poetry about feeling lonely in the most populated American city, a collage mostly of found text. Our show is about love so I titled it “Schmitten”, like smitten.
- Mattea Landry
Eric Schmid (1990) born and lives in Chicago has graduated from NYU has a forthcoming exhibition at Neue Alte Bruecke, Frankfurt and has recently exhibited at Vilma Gold, London Kunsthalle Zurich, Zurich and Eli Ping Francis Perkins, New York.
Mattea Landry (b.1993) was born in Melrose, Massachusetts and attended the School of the Art Institute of Chicago. She lives in Chicago. She has assisted in both the production and background processes of Schmitten.
(Installation view, Schmitten, Eric Schmid with Mattea Landry)
(Installation view, Schmitten, Eric Schmid with Mattea Landry)
(Installation view, Schmitten, Eric Schmid with Mattea Landry)
(Installation view, Schmitten, Eric Schmid with Mattea Landry)
(Installation view, Schmitten, Eric Schmid with Mattea Landry)
(Installation view, Schmitten, Eric Schmid with Mattea Landry)
(Installation view, Schmitten, Eric Schmid with Mattea Landry)
Eric Schmid
Lox Bagel Fatale (#1), 2016
Inkjet printed paper, silkscreen on wood panel.
Eric Schmid
Lox Bagel Fatale (#2), 2016
Inkjet printed paper, silkscreen on wood panel.
Eric Schmid
Lox Bagel Fatale (#3), 2016
Inkjet printed paper, silkscreen on wood panel.
Eric Schmid
Lox Bagel Fatale (#4), 2016
Inkjet printed paper, silkscreen on wood panel.
Eric Schmid
Lox Bagel Fatale (#5), 2016
Inkjet printed paper, silkscreen on wood panel.
Eric Schmid
Lox Bagel Fatale (#6), 2016
Inkjet printed paper, silkscreen on wood panel.
Eric Schmid
Lox Bagel Fatale (#7), 2016
Inkjet printed paper, silkscreen on wood panel.
Eric Schmid with Mattea Landry
Shower Snuggle (#1), 2016
Inkjet printer paper, oil paint on canvas.
Eric Schmid with Mattea Landry
Shower Snuggle (#2), 2016
Inkjet printer paper, oil paint on canvas.
Eric Schmid with Mattea Landry
Shower Snuggle (#3), 2016
Inkjet printer paper, oil paint on canvas.
Eric Schmid with Mattea Landry
Shower Snuggle (#4), 2016
Inkjet printer paper, oil paint on canvas.
Eric Schmid with Mattea Landry
Shower Snuggle (#5), 2016
Inkjet printer paper, oil paint on canvas.
(Installation view, Schmitten, Eric Schmid with Mattea Landry)
(Installation view, Schmitten, Eric Schmid with Mattea Landry)
Eric Schmid with Mattea Landry
My Mother, Demonology (#3,4), 2017
American Apparel thong underwear, page from Gilles Deleuze and Felix Guattari's book Mille Plateaux, ballpoint pen.
Eric Schmid with Mattea Landry
My Mother, Demonology (#2), 2017
American Apparel thong underwear, page from Gilles Deleuze and Felix Guattari's book Mille Plateaux, ballpoint pen.