Simultaneously appealing yet strange, hideous yet delectable, the abject material exploration of Erin’s practice empathetically engages converging pleasures and anxieties. Exploring concepts of personal desire, social habits and idealist consumerism, works aim to pervasively manipulate, contaminate and provoke. Inhabiting the space between film, sculpture, photography, and interactive spatial design, aesthetic environments and polished domestic spaces are formed out of continuous possibilities of inner conflict: ease is intersected with apprehension, familiarity with discomfort, purity with defilement. The displaced visual abundance of two and three-dimensional food simulations present, satisfyingly overindulge yet safely deny and preserve.
