My name is Erik Robert Hagen (1967).  I majored in art history at Carleton College in Minnesota, United States (class of '90).  I have always been captivated by the visual, even as a little kid. For 15 years I studied and worked as an engineer, while making art on the side.  In 2008, I started working as an artist, doing engineering on the side.  I have exhibited in shows at Carleton College, in galleries in Seattle, The Hague, Voorschoten, and in Antwerp.  I currently live in The Hague.  My next exhibit is in November 2010 in Rijswijk (The Hague area) as a part of National Artweek (Kunstweek) here in The Netherlands.

I am a sculptor, painter, drawer, and photographer.  Over the last two years I've focused on the portrait. It's not just that I love working with people:  I find it fascinating to explore identity and character through portraiture.  I work most often from live models using charcoal on paper, but lately I've been exploring the notion of beauty through my photography work with volunteer women models. 

My abstract paintings are an exploration of the oil paint as material, and are informed by my study of ceramics.   Every action leaves a mark on the canvas, as  with clay.  I enjoy making these physical painting, especially the big ones.  I usually work on them while they lie flat on the ground.   I built up the canvas with layers of paint using brushes and pallete knives, and take away paint using different sized scrapers, pallete knives, rags, and anything that comes to hand.  When you look closely at these abstract paintings, you can see the layers upon layers of paint and can begin seeing which layers were placed first.  Geologists, skilled at deciphering the sequence of geologic events in a cross sectional map of folded strata and fault lines, seem to enjoy these paintings.

Outdoor painting is a treat, as I am surrounded by the natural beauty of Holland and its famous light.  I like to load up my bike with my easel and paints, and usually head to the dunes and sea.  Unfortunately, the worst outdoor conditions are the most compelling.  I usually end up with numb hands and wet clothes, painting in the rain, the snow, or both.  The stormy sea shown in this painting was done with one hand holding down the easel to keep it from flying away in 100 km/hour winds, while being pelted with ice and sand.  Lekker!