Eramian’s concrete pieces invert irony’s referential character, this time pointing at nothing but itself: Irony = Irony. In doing so, the process behind these pieces appears to start and end at the same point, much like a circle. This is the functional uselessness, and hence infinite freedom, that irony can afford. Like orphan stalagmites or debris from land art and site-specific traditions, Eramian’s emerged effigies – excavated through a practice of perverse archeology, as it were – defy their raison d’etre and place into the exhibition space the very lack of soil that formed them. These conceptual and formal inversions suggest that irony and the negation by which it operates can in fact be inverted; just like poured concrete can be extracted back again from its hole, swapping forms with its negative image.

Text by Emiddio Vasquez Hadjilyra

Exhibition at Thkio Ppalies, Nicosia, 2016.