LA-based Eric Zammitt’s aesthetic contains slickly abstract sculpture and assemblage works that are constructed from tiny bits of Plexiglas. They often adhere to precisely geometric layouts, but their palette of vibrant colors makes them feel unexpectedly spontaneous and fresh. Like mosaics, Zammitt’s compositions form carefully structured areas of pattern and color, but the space-age media he employs make them decidedly futuristic. The artist cites “capturing a spirit of nature” as a primary goal, and though Zammitt’s formulations do occur to the viewer as entirely ethereal in their outlook, they are unavoidably, marvelously mechanical in their construction and effect.
The towering "Plank Two" is like a pillar, wherein smoothly polished layers of Plexiglas form a work that’s almost preposterously methodical in its organization. It’s a monument of — and to — the digital age. "Voyage" is conventional enough in its orientation, meaning it can hang on a wall, but it departs radically from a traditional painting. From a distance, variegated electric greens and blues appear as a psychedelic take on color field painting. A closer look reveals painstakingly modulated arrangements of — what else? — chunks of colored acrylic plastic.
Zammitt insists that he doesn’t want to “limit the viewer to a particular way of seeing.” Given his unusual media and original application, it’s unlikely that he will.