Eric Bowman is confined to his studio. An acrid smoke, apparently conjured from the depths of the apocalypse, has filled the skies above his home and created an eerie orange ember-like glow. The smoke comes from Oregon’s devastating wildfires, which have forced evacuations nearby, including for several friends and relatives. Meanwhile, in nearby Portland, there are nightly protests that frequently grow violent. Also, a pandemic. “At this point, the smoke is just one more thing for 2020,” Bowman says. “Right now we can’t go outside because you can’t breathe and it smells terrible. It’s like standing in front of a fire pit.”Destination Unknown, oil, 16 x 20"

This year has certainly been one calamity after another, but Bowman is hopeful for the future, so much so it’s subconsciously working its way into his new paintings. Indigenous Pilgrim, for example, shows a Native American rider surrounded by shadow and ominous clouds on the horizon as he is engulfed in light on the desert floor. In Destination Unknown, another rider is shown from behind as light urges him forward. These two works are about the marginalization of Native American people in American history, and yet they have a resonance for everyone in these trying times. Indigenous Pilgrim, oil, 24 x 24"

“For Indigenous Pilgrim, I painted him in a sort of ‘hero shot.’ I framed him with the dark clouds in the background to force the light upon the subject. The clouds are suggestive of mood, and there is a somberness there at the same time,” Bowman says. “With the stance of the horse, and the position of the man, the viewer can read into this any number of ways. But I see it as a sign of hope. There is pride in their heritage, and purpose. And even as Indigenous people were marginalized, they were never defeated. They always had hope.”

And hope will not be taken from Bowman either. The artist has been on a hot streak for several years. He’s had hit gallery shows, earlier this year he had a sold-out display of work at the Masters of the American West, and he was invited to participate in this year’s Prix de West, which eventually turned into a virtual show and sale. “I’ve been very fortunate coming into 2020, and it’s been a good year for me. It’s such an odd paradox, though, to be doing so well amid these times as so many people are struggling,” Bowman says. “I’m grateful doors are opening for me, and I’m hopeful in the year to come, for everyone.”Arts and Crafts, oil, 24 x 24"

The Oregon painter will be sharing his message of hope at a new show, Indigenous Suite, opening at Maxwell Alexander Gallery in Los Angeles. The show will feature 12 new works, all of which show Native American subjects in the West. The backgrounds in many of the works certainly look like New Mexico or Arizona, but Bowman left them vague enough that they could be anywhere, something that allows each viewer to connect with the painting in their own special way. The Native American subjects are aspects of the West the painter has been exploring for more than year. “No cowboys in this show, though there are some Indian cowboys. I mostly wanted to explore Indigenous people’s culture, and who they are,” he says. “I also really admire the artwork, which is why I have several works with pottery, much of which was inspired by the San Juan Pueblo.”No Room at the Inn, oil, 24 x 30"

Bowman studied the people he painted, but never felt beholden to fine details, mostly because he’s aiming for more emotional truth over historical truth. “Historical detail is important, but I also put my own imagination and style into it,” he adds. Some of this comes from his own history as an illustrator, in which a hired artist essentially fills orders for clients without having much artistic license. So, naturally, Bowman found a lot of freedom when he struck out on his own away from illustration, and now he’s telling his own stories in his own unique way. Western Blue, oil, 24 x 30"

“Painting is a journey. It’s the development of something and it happens year by year,” he says. “I didn’t go into the Western genre earlier because I thought you had to paint these highly detailed, highly researched subjects, and it didn’t interest me. But as I saw new Western artists really exploring these subject matters—as the Taos artists did a hundred years before—and doing it on their own terms, I thought Western subjects were worth exploring as long as I could do it in my own way.”The Space Between Fathers and Daughters, oil, 30 x 30"

And Bowman has been doing it in his own way since he broke onto the scene several years ago. He’s made consistently powerful work, rendered it beautifully with vibrant color and painted in a style so distinctive that viewers don’t need to read a signature to find out who painted it. Even as his star rises, he knows there’s work to be done. 

“I’m always trying to learn. All you can hope for is doing better than your last painting,” he says. “You certainly can’t slack off, especially when there’s a faster gun always out there. You just have to focus on your own work and always strive to do better. That’s the hope of an artist.” —

Upcoming Show
Up to 12 works
Nov. 14-Dec. 5, 2020
Maxwell Alexander Gallery
406 W. Pico Boulevard
Los Angeles, CA 90015
(213) 275-1060
www.maxwellalexandergallery.com 

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