I started showing my work at 14, in the Chicago
Street Fairs. Growing up with my mother Colleen Libby, who was a
portrait painter and society photographer in the 1930's and 1940's, put
me in touch with art very early. When I was 8, I won a scholarship to
the Museum School of the Gallery of Fine Art in Columbus, Ohio. I was
fortunate to have excellent training in fine art from the School of Art Institute of Chicago, Mexico City College and the University of Chicago.
My first national juried show was in Sarasota,
Florida in 1954. By 1966, I was showing in Paris, New York, Chicago and
Los Angeles.
Then, I got a divorce and a job at Mattel Toys
in Los Angeles. I am proud of my 38 year career creating lovable dolls
for children. Some of the dolls that I worked on at Mattel, as a
designer, sculptor or Manager of Doll Characterization, included the
much loved Liddle Kiddles, Baby Tenderlove, and Malibu Barbie. I was a
freelance designer from 1972 until my return to full time fine art in
2004. Some of the toys that I designed, sculpted, or co-designed include
the first Fisher-Price Dolls, Maxie, and best known, the sculpting for
the original Cabbage-Patch vinyl dolls.
I moved to Bellingham, Washington in 1989. I
am delighted that my work can be seen at the Blue Horse Gallery in
Bellingham and Gallery by the Bay in Stanwood.
Influences in my work include Hieronymous
Bosch, Gustav Klimpt, Arthur Rackham, Persian miniatures, medaeval
Celtic art and Mata. The early Netherlandisch art, which I studied with
Herbert Kessler at the University of Chicago, had a profound effect on
me. I feel a kinship with the women Surrealist painters, in particular
Elinor Carrington and Remedios Varo. Their mixture of laughter and
magic speaks to me. Lately, I have been enjoying outsider art.
I studied film animation at the UCLA Film
School in the 1970's. While I did not go into animation, it influenced
my painting. I often catch my subject, real or imagined, in motion.
My best, most creative thinking is done on my
lap, looking out over the bay, curled up on the couch with an assortment
of pencils and pens tumbling about. I like the intimacy of working
small, and I like to capture the energy of the natural world. These
sketches sometimes turn into complete drawings. Sometimes, I use them as
studies for oil paintings.
When I paint in oils, it is all more formal. I
stand at my easel. I call upon the muses of Mary Cassatt and Mickey
Mouse to help me share my world of fantasy, whimsey and irreverence.
---Erin
|
