“[My art] reflects the spirit realm, the things you see before your life flashes before your eyes, the actualization of those things. It began as play and fun, now I see the ghosts of my past...”

Eric Bullock’s paintings hit fast and hard at first glance - his work an M-80 gone off in a giant crayon box sending symbiotic color, gesture, and shape fragments into various barely choreographed trajectories. Everything hits you and everything else all at once - things fly, blow, flow, spark and sparkle in gatherings of moons, trash, birds, balls, buildings, ghosts, other collisions; through glares, darkness and visible sound. Iterations of the Big Bang. It settles eventually with the viewer’s attention and patience, and with time and scrutiny a new ineffable occurs. An entrancing noise, a spectacle that spangles and arrests the viewer in an awareness of poetic expression. Tenderness emerges, small instances of tranquility and equipoise in the tumult, the whisper of a personal story. Worlds within worlds.

Street art as a field of expression is restless by nature, yet Eric has a way of producing a kind of homecoming in the urgency of inscription: “My intention is to create art for a world in motion... each painting is like a Rorschach inkblot designed to connect to one’s inner world... conveying the past, present, and future [in terms] of placement and desire.”

Bullock’s work doesn’t instruct the viewer in any specific way - it shows what he sees and how he feels in his flow of life. It proves to you that his tangents cross with yours and it places the viewer into their own memory of travel through the myriad flows of urban existence. There are symbols and narrative cues, but the story of their emergence and arrangement and destination are the source and magic of their energy. Bullock fervently tries to get everything down on the page, expressing a world as he knows it, the invisible and the visible.

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FEBRUARY 14 - MARCH 21 2026