Erin Vincent’s studio practice is driven by material experimentation and iterative, process-based methods. Working across paper, sculpture, and installation, Vincent develops work through sustained engagement with material, repetition, and structural variation.
This section documents works in progress, studio tools, and evolving methodologies, offering insight into how individual pieces and larger bodies of work are formed. By revealing stages of development—from initial tests to resolved forms—this page provides context for galleries, curators, and collectors interested in the conceptual and material foundations of the work.
Sometimes there is a little planning, directional suggestions but those tend to get erased. Every day is different and ideas shift.
There never really is any one good place to start, it depends on my mood and what the panel looks like once rotated.
The compressed paper works begin with prepping thousands of strands of painted strips.
Bristle works need materials placed in manageable bunches.
Hog bristle piece, in progress and you can see it gets messy.
The beginning stages of a bristle sculpture, showing the substructure and support.
The tissue paper pieces have a lot of upfront work. Each tiny cylinder is individually rolled prior to being applied to the paper backing.
The delicate paper rolls come in all sorts of diameters and lengths.
The other secret to keeping these precious forms safe is the very practical tupperware containers that house them until needed.
Midway through the completion of a large map pin piece. The organic surface is built to secure the pins in place once placed.
Clusters of map pins in process of enveloping the entire form.
Three coiled black woven textile pieces, the early stages of a rope piece.