About the Artist


Eric Uhlir (American, b. 1979) grew up in Southern California and earned his BFA from the University of Texas at Austin in 2003. His work is both figurative and abstract, examining the Anthropocene in the context of art history. He exhibited at IA&A at Hilyer in Washington, DC in 2019 and with Caitlin Berry Fine Art at Culture House in 2021. His work is held in private collections internationally. He keeps a studio in Washington, DC.

For inquiries about available work, shipping and projects please reach out to "info [at] ericuhlir dot com".

Solo Exhibitions:

2024 Armida & Rinaldo, WinstonWächter Fine Art, New York, NY

2021 Eudaimonia, Homme Gallery, Washington D.C.

2021 Before, After and In Between, Culture House, Washington, D.C.

2020 Remember an Infinite Wave, Caitlin Berry Fine Art: Washington, D.C. 

Group Exhibitions:

2024 Roamer Project, Madrid, Spain

2024 Echoes of Being, Tappan Collective, Los Angles, CA

2023 A Colorful Life, HOT•BED: Philadelphia, PA

2023 Here We Show Again, The Strathmore, Washington, D.C.

2021 Now and at the Hour, HOT•BED: Philadelphia, PA

2019 Recalled in Human Memory, IA&A at Hillyer: Washington, D.C.

2008 5x7, Arthouse at the Jones Contemporary: Austin, TX (touring)

2008 Red Hot Red Dot, Women and their Work: Austin, TX

2007 Radical Nautical, Gallery Lombardi: Austin, TX

2006 Texas Redistricting, Art Palace: Austin, TX

2005 5x7, Arthouse at the Jones Contemporary: Austin, TX (touring)

2005 Retreat, The Church of the Friendly Ghost: Austin, TX

2003 Supplement, The Vortex: Austin, TX

2003 Senior Studio Exhibition, Creative Research Laboratory: Austin, TX

2002 E+R+M, The New Gallery: Austin, TX

2002 Oiled and Spoiled, PECA: Austin, TX

"Semiabstract yet packed with figurative details, Eric Uhlir’s paintings splash multiple art-history eras into a jumbo blender. Seen from a distance, the large canvases in Culture House’s “Before, After and In Between” recall the intuitive abandon of mid-20th-century expressionism. Yet the fleshy pictures have so many skin tones — tans and browns as well as pinks — that they suggest a more inclusive Peter Paul Rubens or Willem de Kooning. And many of the teeming vignettes are placed in sunny poolside locales reminiscent of David Hockney’s L.A. period, although maybe the settings simply reflect the Southern California upbringing of Uhlir, who’s now based in D.C."
- Mark Jenkins, Washington Post

Photos: Noah Willman