My paintings usually begin with a photograph. I am attracted to the sensuality of a child  feeling with her fingertips the wood of the post she is crouched upon; or a particular kind of lighting, like the strong, white warmth of the sunlight that comes in through my kitchen window; or an unorthodox composition, like the one that starts with the bottom of my daughter’s feet. I choose images that exploit specific idiosyncrasies of the camera itself: the nature of effects such as lens flare, the spots of light on a photograph facing the sun, or the way an image blurs and becomes transparent when there is movement in low lighting, for instance when a girl spins cartwheels in the dusk – it’s somewhere between a still and a video: the subject has not quite been captured. And the distortion of an object very close to the lens can be fantastic – an extreme disproportion where a composition can be subtly dominated by a hand or a forehead. My paintings rely heavily on the instantaneous nature of the photograph,  and if you look closely, you can often see the camera referenced in my work.




Solo Exhibitions


My Keel is Too Heavy, Art One Gallery, Inc., Scottsdale, Arizona 


Space Between the Toes, Art One Gallery, Inc., Scottsdale, Arizona 


Group Exhibitions


 11 Miles of Color: Repurposing Spring Crossing, Gallery @ The 

         Library, Scottsdale Civic Center, Scottsdale, Arizona


Tiny | Tiny, {9} The Gallery, Phoenix, Arizona

 Eric Fischl Awards, Phoenix Art Museum/Phoenix College


 Group Show, Paul Scott Gallery, Scottsdale, Arizona

Eric Fischl Awards, Phoenix Art Museum/Phoenix College


7 Artists, Paul Scott Gallery, Scottsdale, Arizona


 Eric Fischl Awards, Phoenix Art Museum/Phoenix College,

10 x 10, Mesa Art Center, Mesa, Arizona

Monsters and Mutants, Space 55, Phoenix , Arizona


10 x 10, Mesa Art Center, Mesa, Arizona

Eric Fischl Awards, Phoenix Art Museum/Phoenix College, Phoenix, AZ


10 x 10, Mesa Art Center, Mesa, Arizona 


10 x 10, Mesa Art Center, Mesa, Arizona 


Eric Fischl Awards, Phoenix Art Museum, Phoenix, Arizona 


Inner Landscape, Bragg's Pie Factory, Phoenix, Arizona 


I am also interested in the history of the photo's existence. Do I own that history because I took the photo? Am I remembering it correctly? There are stories of images that my children can describe in detail as first-hand experiences, when in fact, they were not there, or not even born yet. The story has worked its way deeply into their consciousness, but not the origin of how the story got there. In the murky forest of our memory, our personal stories become collective stories, and what happens to one of us becomes a part of all of us, as long as someone remembers it.

I fuse the image and the story to tell my version of history, which may be a conflation of several truths. The playfulness, sensuality or ambiguity of that time, not just that moment, is re-imagined by my brush, and elucidated by my own personal mythology: hats and chicken feet, etc. From out of this continual amassing of images and half-stories, there is something about these particular moments that I need to understand first, before I adjust the way they are remembered.

— Kris Manzanares





Eric Fischl, New York, NY 

Public Speaking Engagements 

Scottsdale Museum of Contemporary Art, Slide Slam! Spring 2001

Sunday Artists Archive, KNXV ABC 15, September 18, 2005 


Corrales, Brittany “Here’s What 11 Miles of Repurposed Rainbow Ribbons   Looks Like”,  Phoenix New Times, Jan. 20 2016

Belsito, Rochelle, “Fresh Finds”,  American Art Collector, Dec. 2013

Michael Hammett, "The Artists Among Us," The Arizona Republic, November 11, 2006 

Carrie Severson, "Getting Noticed," State Press, January 28, 1999 

Soley Hartel, "And Then There was Neon," State Press, March 7, 1999 


Edinburgh College of Art, Edinburgh, Scotland, Graduate studies in sculpture  1999 –2000

Arizona State University, Graduate studies in sculpture 1996 –1998

University of Maryland, Baltimore County, BA in Graphic Design  1987 – 1993

Place & Date of Birth

Washington, D.C., 1969