Display Cases in the Great Hall: Exhibition Archive


January 7th, 2015 - February 13th, 2015


TR Ericsson

Lucifer was the Latin name given to the brightest star in the ancient Roman sky, the light we now identify with the planet Venus. The first light in the night sky, it is often seen low on the horizon just after sunset. Ericsson plays with the subsequent interpretation of Lucifer as the favored angel who falls from grace, becoming identified with forces of darkness. In these photograms, Lucifer brings light to the paper, revealing a woman’s form, fashioning her contours against glossy black.

Playing with light and dark, edges and shadows, Ericsson manipulates both muse and medium to create a sensuous and luminous image. Like rings of smoke etched in light, tendrils of hair dance around the woman’s head. In Lucifer, the strings of light evoke a fireball falling into the open hand below. Lucifer’s Kiss reveals the muse’s body in white light against the glossy darkness. Lucifer Falling is a poetic embrace, where light is wrapped around darkness, tickling and entering the shadows. Lucifer (Black Diamond) blurs light into surrender in intermingled forms.

The Lucifer series of photograms reveals a departure from Ericsson’s previous surrealist drawings objectifying the nude, inspired by Marcel Duchamp’s voyeuristic late work, Étant donné. Counterpoint to Bruce Conner’s Angels, Ericsson’s photograms explore heavenly and earthly natures, allowing fiery illumination to caress darkness. Lucifer embraces and seduces the viewer with light.

Case One: Lucifer’s Kiss, Lucifer
Case Two: Lucifer Falling, Lucifer (Black Diamond)
All photograms, 24 x 20 inches, printed on
resin-coated Ilford paper

All works Courtesy of the Artist and Robert Koch Gallery
Artist website
Curated by Lisa A. Banner