Luminous Color Study Based in Blue Utilizing a Traffic Cone as a Functional Object, 2011
Video projection onto painted canvas and glue 


Everything we know about is changing all the time. Paintings fade and crack. Trees fall, new growth springs up. Technology is evolving at an accelerating pace. And each of us is a constant work in progress, never static, never still.

In my work, I use computer processing to manipulate painted and filmed images, placing them in a constant state of flux. I project dynamic video onto prepared surfaces such as painted canvas, integrating new and old media. My installations are simultaneously filmic and painterly. I create moving paintings which look different every time you see them.

I want the viewer to experience painting as a time-based practice; additionally, I seek to expand the painter’s palette by combining additive with subtractive color. I strive to expand our experience of painting through collaboration and using technology. This is both my goal and my method of art making.

Attentive to the constant decision-making necessitated by our incessant interactions with this universe, I try to enable expression of the resulting creative potential. We change every second, and the universe is an entirely different place from one moment to the next, made even more so as a result of our efforts. I want my work to insist on maintaining a shifting point of view as technological advancement only makes the evanescence of everything more apparent.

On Traffic Cone Aesthetics:
Traffic cones are almost art. Like paintings or sculpture, their primary function is to be looked at. Yet many people remain unaware of the rewards of paying attention to traffic cones, as this important contemporary subject is still largely ignored.

Traffic cone appreciation enables serendipitous moments of aesthetic experience beyond the reach of traditional art-viewing contexts. On traffic cone viewing tours I cover formal traffic cone aesthetics and discuss some of the myriad interpretations of the meaning of traffic cones (for example, as harbingers of the singularity). One of the primary benefits of the practice of traffic cone viewing - namely, that it requires only minimal effort and no commitment of time or resources on the part of the viewer, but rather a simple awareness of traffic cone aesthetics - is also reinforced on the tours.

My understanding of traffic cone aesthetics stems from over fifteen years of traffic cone observation in Asia, the Americas and Europe. I create solo and collaborative works of art and entire exhibitions responding to traffic cones which are exhibited in galleries, museums, art fairs and alternative spaces. I tweet traffic cones. I am a pioneer in defining and propagating the fledgling field of traffic cone aesthetics. I am committed to helping you understand how truly seeing traffic cones will have a positive impact on your life. I am not some shady fly-by-night traffic cone enthusiast. I promise that by the end of a traffic-cone viewing tour you will be well-equipped to enrich your existence through recognizing the inspiring visual poetry of traffic cones.

About Erik Sanner 

Erik Sanner is a visual artist living and working in Harlem, NYC. He has recently exhibited at the Katonah Museum of Art (NY), the MLB Fan Cave (NYC), Tria Gallery (NYC), the Courtauld Institute of Art (London), the Danforth Museum (Massachusetts), LICHT FELD (Basel) and Carmichael Gallery (LA). Sanner’s overarching goals include expanding our experience of painting by utilizing technology, promoting awareness of traffic cone aesthetics, and collaborating with artists and non-artists alike to realize projects no individual would have imagined or executed without sharing their visions and cooperating together.