HI-FRUCTOSE Opening Night

On November 9, Eric White celebrated the opening of his new solo exhibition “All Of This Has Not Occurred” at Martha Otero Gallery. Inspired structurally and artistically by John Martin’s apocalyptic paintings, White generates a world seen through the eyes of his “watchman”: anxious, alert and powerful. White’s practice is centered around masterfully executed figurative painting, walking the line of surrealism. He uses film imagery to create dreamlike sequences, which are often disrupted when his subjects break the fourth wall to engage their viewer.

He describes this style as “Paranoid Social Realism,” a window into an alternate reality of Hollywood populated by imaginary actors and movie directors from different moments in time. His 1/3 Scale Retrospective of paintings offers an experiences like falling down a rabbit hole into this schizophrenic reimagining of cinema’s glamorous world. In doing so, White comments on our obsession with mass media and the need for more."

See the entire post here!

Thanks Caro and Hi-Fructose!


In the entry of Martha Otero Gallery in West Hollywood is an impressively large oil painting depicting three giant screens showing epic films with scores of theater seats facing in five directions. This massive undertaking is the work of painter Eric White, who committed himself to months of labor and weeks of sleepless nights to get ready for his new show, "All of This Has Not Occurred." The exhibit— which spans three rooms—features White’s personal vision of his own museum retrospective, with paintings that have been replicated in China at 1/3 scale of his original. The center room offers a glimpse into White’s obsession with scale, scope and detail, with the painting that he conceived as interpretations of John Martin’s apocalyptic landscapes. White dedicates a wall on the third room to his trompe l’oeil album covers—complete with tiny writing on the side spines to trick the eye.


Walking through the show with a very tall White and seeing him next to the scale model sizes of his paintings (which are also hung low to the floor; at 1/3 scale of where they would hang at full size), feels like tripping down the rabbit hole. "It is meant to be a replica of a museum show," explains White. "These are my greatest hits from over the years, all the way back to 1996 and a couple from my very first show. We sent low res images of the paintings to China. These are replicas of the paintings, like a diorama of a retrospective." The reason White is exhibiting replicas is simple: "The only way to accommodate this much work in a tiny space is to have a scale model. I don’t have a museum retrospective, so I had to make my own. I will only sell this as one piece. To me it is hilarious and ridiculous, a separate conceptual piece from the rest of the show."


In the center room White commented on the obsessive level of details in the large paintings. "It comes naturally. These three pieces are structurally based on paintings by John Martin. The way they were structured, 80 to 90 percent of the top was a giant cataclysm of lightening, clouds, tidal waves and weather. At the bottom there would be these tiny little figures on cliffs screaming and jumping off. I feel like we are at a place societally where we are in trouble. The title of the show was almost 'RomCom Apocalypse.' It is kind of about the cataclysm that is American pop culture."

  1/3-Scale Retrospective  2013

1/3-Scale Retrospective 2013

  Mommie Issues 2: The Reckoning  2013

Mommie Issues 2: The Reckoning 2013

Three of the paintings depict rows of theater seats at the bottom, and the large-scale piece seems to have an endless number of them. "It’s all about media being overwhelming. They are all imaginary films. I always knew it was going to be a disaster to paint those seats. I put it off and put it off. It was haunting me," admits White. "I would worry about it at night and I would come in the morning and look at it and have a panic attack because I knew it was going to be a disaster to do, but they are here now, somehow."


On his painting "Mommie Issues 2: The Reckoning," White says, "I knew that several pieces would take place in theaters. I have a few different sketchbooks and there is a sketch for this piece in every one. This idea would not leave me alone. It just seemed like such an absurd idea, about watching a movie about a guy defacing a magazine. I tend to take my work too seriously and myself too seriously—I really wanted to try to break that. My favorite response is to see people walk up to this painting and crack up. That’s the best thing I could have happen."

See the entire post here!

  The End (Brute Force)  2013

The End (Brute Force) 2013

Thank you Julie and Cool Hunting!


Eric has a beautiful feature in the December issue of Juxtapoz alongside a perceptive article by Carlo McCormick. Pick up your copy of this month's issue of Juxtapoz, and get a sneak peek of the issue here

 Photo by Bryan Derballa

Photo by Bryan Derballa

CLICK HERE to see images from the opening of All Of This Has Not Occurred and  Eric's Project Room installation "1/3-Scale Retrospective" that was unveiled that night!

Thank you Evan, Bryan, Carlo and the rest at Jux! 


AM recently had the pleasure of stopping by New York-based artist Eric White’s studio.  During the visit, we got the chance to see some of his new work for his solo exhibition entitled All of This Has Not Occurred coming up at Martha Otero Gallery in Los Angeles. White showed us an alternate reality with his work – work which he describes as “Paranoid Social Realism” – a look into a different Hollywood, which is conceived as a multidimensional world. He executes this by masterfully inventing films and re-imagining reality in which time periods, actors and genres are manipulated. Be sure to check out White’s alternate Hollywood if you’re in the Southland starting with the opening on November 9th.


To see the rest of the post, click here!  Thanks AM!


REMAIN VIGILANT: Eric White's paranoid conspiracy theorist is imagining things...or is he?...

By Rob Wilkes

Ever get the feeling you are being manipulated by the media? Lied to by the elite? Forced to block alien mind control using a tin foil hat? The latter might need an adjustment of medication, but it’s undeniable that film, television and advertising play an important and not always altruistic role in our lives with the messages they communicate. Fear not though, for Eric White is keeping a vigilant eye out for anything underhand through his portrayal of a hyper-vigilant conspiracy theorist artist practising what he describes as Paranoid Social Realism.

White draws back the curtain to reveal a parallel Hollywood in All Of This Has Not Occurred, a world in which time periods, actors and genres are edited and distorted, films invented and reality re-imagined by a disturbed mind. Aside from his interesting subject matter, White is blessed with “damn I wish I could paint and draw like that” skill levels, and you can admire his mastery at Martha Otero Gallery in Los Angeles 

  PENTAPLEX Coming Attractions [detail], 2013 Oil on canvas 84 x 144 inches

PENTAPLEX Coming Attractions [detail], 2013
Oil on canvas
84 x 144 inches

What Goes Up...

After an arduous process of getting them out [and over the side!] of the building, the paintings for All Of This Has Not Occurred are on their way to L.A.!  


See you soon, West Coast!


New York-based artist Eric White will open an exhibition of paintings entitled "All of This Has Not Occurred" at Martha Otero Gallery in Los Angeles. White describes this body of work as 'Paranoid Social Realism... a window into an alternate Hollywood, an invented multidimensional world in which accepted notions of linear time are denied.' His impressive attention to detail blended with the surreal (and slightly disturbing) imagery makes for interesting depictions of impossible scenes from movies that aren't real.


To see the rest of the post, click here . Thanks Andrew and Complex Mag!

 Eric White  • Mommie Issues 2: The Reckoning   • 2013 • 60 in x 60 in • oil on canvas

Eric White • Mommie Issues 2: The Reckoning  • 2013 • 60 in x 60 in • oil on canvas

THE LAB TV Video Interview

This is a fantastic short video by the Lab TV that gives a glimpse into Eric's studio life and thought processes:

Thanks to the Lab Magazine and the Lab TV!


Directed by John Poliquin

Cinematography by Alex Hill

Produced by Darya Kosilova

Edited by Anna Quinlan

Music by Greg Bevis



So excited to see Eric's feature in The Lab Magazine's issue no.7! What a lovely and incredibly well-designed publication! Tons of other great stuff in there, definitely check it out. Thanks Darya, Anna, Amy and all the others at The Lab Mag!

 1953 DeSoto Powermaster 8 Passenger Taxicab (The Manchurian Candidate), 2012, oil on canvas, 24" x 24"

1953 DeSoto Powermaster 8 Passenger Taxicab (The Manchurian Candidate), 2012, oil on canvas, 24" x 24"


ric's solo show at Martha Otero Gallery in L.A in November is going to be BIG, especially because the BIG 12' x 7' canvas that was delivered today will be playing a leading role (SO BIG that we had to use a fork lift to get it up to the second floor--it wouldn't fit through any of the doorways!). 

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ext comes the magic!

Vitruvius Group Show

I am in a great group show, Vitruvius, at Martha Otero Gallery that runs January 18th through March 2, 2013, along with artists Jonathan Brand, Gregory Euclide, Jacob Hashimoto, James Jean, Saelee Oh, and Alexander Tarrant. If you're in the L.A. area, don't miss it!

 Photo by Joshua White

Photo by Joshua White


My friend Jens-Peter Brask was kind enough to talk about my work on Danish National Television! I don't know what the hell he's saying, but it's exciting nonetheless!

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To watch the video clip, click here.