on Eddy’s new exhibition with Nancy Hoffman Gallery is a treasure trove of compression, complexity, color and texture. Typically grouped with the photorealists who came to prominence in the 70s , Eddy is known as a painter who is obsessed with light. Here that ethereal quality comes across as rich and gorgeous, otherworldly and quotidian all at once.
For Eddy, the particular texture of these canvases very much came out of the eerie feelings that existed during the early Covid period, when he would discover strange versions of beauty amid immense loss and disintegration. “The Japanese have a phrase called ‘’,” he said, “and what that refers to is the beauty of decrepitness in a way. And so, that sense of poignancy, of things falling apart was riveting to me under the situation of 45,000 people dying in the city.
As a painter Eddy has a long history, first coming to prominence in the 1970s while associated with painters labeled photorealists, or hyperrealists. He honed the photographic eye that would become a linchpin of his art while working as a tourist photographer in his 20s. “I became so familiar with the camera that it was just my way of seeing,” he said. Eddy also believes that his photographic way of seeing the world is a product of the generation he grew up in.
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