Despite the fact that philosophical research of languages has been present for many years, the whole history of language philosophy became systematic only in the 20th century, because determination of the value and identity of a phonic and conceptual sign assumes that there exists a entirety of the linguistic system on the boundary between both schools of thought: the previous one and the following one.
The “philosophy of language” interferes, for example, with idioms and with systems of communication, going through various disciplines, such as: psychology, metaphysics, epistemology, logic, linguistics and semiotics and, what’s more, it studies the relationship between sign, significance and the consequent human capacity for knowing how to get into communication.
The theory of a Swiss linguist and semiologist, Ferdinand de Saussure (1857-1913) can be considered as the right point of reference for analysis of the modern “philosophy of language”
Saussure is regarded to be one of the founders of the 20th century linguistics (called modern linguistics), known as structuralism - which was one of many schools of the 20thcentury linguistics committed to the structuralist principle that a language is a self-contained relational structure, the elements of which derive their existence and value from their distribution and oppositions in texts or discourse. Moreover, Saussure proposes a study of the language intended as an autonomous and unitary system with regard to individual elements. It is a branch of linguistics which deals with ways in which words can combine a proposition and the structures which can form a period – which in Eric Shaw’s work is equal to the ratio of composition elements and their respective functions.
In each of his paintings, he adds a key determinant of repeating forms and motifs as if he used a vocabulary belonging to a specific language which is personalised and formalized in the course of time, a synchronic support which corresponds to the progress of his artistic practice and esthetic research.
In chemical engineering, the term “reflux” refers to a current, “corrente di riciclo”, understood as a current material which is first removed from the principal current and then is put again into the same current from which it had been removed before.
Constantly, the relation of the second cycle “rapporto di riciclo” is given by the ratio between the capacity of the second cycle current of and that of of the main, initial current .
In other words, Eric Shaw progressively and repeatedly tries to recycle and re-create a visual, complex and recognizable syntax, always in tension, never cryptic, inside of his works and between one and the other, through a mechanism which repeats endlessly. Such a process seems to conceal the same weavings , unstable- which come and go, and this, with time, becomes more and more obsessive and self-regenerative, as the above-mentioned “corrente di riciclo”, so as to guarantee significant and formal variety, compositional and chromatic, always on the move, therefore constantly evolving.
The precise paintings of Eric Shaw can certainly be included into the painting style called “Hard edge painting”, characterised in general by stark contrasts between different and (coabitative) areas of color predominantly homogeneous and monochrome, created of vivid and standard shades, straight lines, simple geometric and linear shapes, sometimes sharp and another time soft. The inspiration comes from the assimilation of common elements which are typical for commercial design and road signs and which are further developed and transported into digital sketches which gradually become more and more distant from their relation to reality.
Eric Shaw creates geometrical and abstract paintings based on gestures of digital manipulation. “I am continuously challenged by attempting to draw a straight line with my pointer finger on the screen.” – he explains. The starting point is the sketch achieved by editing tools of a Smartphone which Eric brings on the canvas painting by hand with the use of acrylic paints and vinyl.
Every day he takes photographs of his works and he redesigns them on the acquired digital image. He carries over again the outlines on the canvas, and repeating several times this operation (which alternates the passages between the analogue mode and the digital mode), creates a stratification of lines, forms and colors which interact in a complex and harmonious strategy.
The process is metaphorically comparable to the one in which a moving car covers always the same track mechanically from analogue to one digital and vice versa.
Lastly, he uses matt and high-gloss varnish to create an illusion of depth and a perpetual movement.
Eric Shaw presents an aesthetic syntax characterised by a wide wariety of different forms which produce sensations of movement thanks to the combination of color which appears to be moving from one figure towards another one.