Eric Goldberg was born in Bridgeport, Connecticut. He studied at Parsons School of Design and The New School for Social Research before receiving his BFA from New York University and his Masters Degree from New Mexico University. He taught at numerous colleges and universities for many years and was founding Chair of the Art/Design Department of Quinebaug Valley Community College in Connecticut from 1986-2003. He currently works full-time, as a printmaker/painter, in his studio in Mansfield Center, Connecticut.
He is a member of the American Print Alliance, The Society of American Graphic Artists (SAGA), Los Angeles Printmakers Society, The Printmakers Network of Southern New England and The Boston Printmakers, where he’s a member of the Executive Board.
His prints and paintings have been extensively exhibited in the USA and abroad. He has received many awards including several from The Society of American Graphic Artists; The Newport Museum of Art; The Boston Printmakers and The Washington Printmakers.
Most recently Goldberg’s work has been added to the collections of The Boston Athenaeum, The National Museum of Fine Arts, Taiwan, Republic of China, The Sakima Art Museum, Okinawa, Japan and the Print Collection of The Boston Public Library.
My imagination is fueled by the world around me, by places and people and the thoughts and feelings they evoke. As an artist, I make images which express these concepts and emotions. I want my images to convey both the natural world and deeper truths, which are wordless and need to be expressed through metaphor.
Drawing is the method in which my image making begins and through which it evolves. Whether the source of the work is from direct observation, a photo I have taken or from my imagination, it is always initially expressed as a drawing. Ultimately, the work may become an etching or a painting, but at its core is always drawing. Drawing has a tactile directness that connects the mind and the hand. It is a two-way connection where the drawing evokes thought and thought evokes drawing. An unintentional gesture of the hand can change the concept in a direction that the mind alone would not have traveled.
Etching on a copper plate is, by its very nature, a process with many steps from its beginning through its completion. It is a process which is well suited to my way of working. I am able to develop a drawing which evolves as it proceeds. Values and forms, must be decided, resolved and executed during the drawing. Patterns, made from lines, cross lines and stipples become spontaneously obvious to me while I work. Patterns and values can be built and enhanced by the layering of successive etches. When the plate is inked and printed, the inverted image becomes an entity onto itself; the whole greater than the sum of its parts.
Mansfield, Connecticut 2010