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On Tender Assembly and the Politics of Display: NewCrits Talk with Eric N. Mack
Friday, 7 November, 2025
He builds with fabric, scaffolding, and light — Eric N. Mack on tenderness as structure and the unseen labor that makes art visible.Eric N. Mack works between painting, installation, and fashion, reimagining how material, care, and collaboration shape contemporary image-making. His large-scale assemblages drape and lean, collapsing distinctions between surface and structure, styling and architecture, autonomy and support. His practice reveals how beauty, fragility, and display coexist within shared spaces of labor and care.He explains:* How gestures of rupture, cutting, and collage become ways to think through care, not violence.* Why stylists, curators, and unseen collaborators form the hidden architectures of art.* How fabric behaves as both image and body — draped, suspended, and alive to air and time.* What scaffolding, transparency, and light teach about the precarity of presence.* How tenderness and structure coexist as the real politics of display.* Why every act of making is also an act of attention — a choreography of support between maker, viewer, and space.(0:00) Welcome + Intro(01:00) Rupture, Reflection, and the Studio as World(05:00) Grace Jones and the Clarified Aesthetic(10:00) The Unseen Hand and the Architect of the Image(15:00) Collaboration, Care, and the Space of Display(20:00) Fabric, Fragrance, and the Politics of Form(30:00) Craft, Styling, and the Education of Looking(33:00) Art School, Value, and the Work of Belief(40:00) Draping Architecture and Breathing Structures(47:00) Fragility, Care, and the Social Life of ObjectsFollow Eric:Web: https://www.artsandletters.org/exhibitions?slug=eric-n-mackInstagram: @ericnmackFull TranscriptAjay Kurian: When you’re putting together a show, I know you’ve talked about art being present for the world’s brutalities, but how do you conjugate that or stay present in the work with that? It’s not even saying that you have to, because it’s not your responsibility to do so. It’s more so, I see glimmers and I see the way that you think about how things come together and how they kind of fall apart.Eric N. Mack: Yeah. I have a lot of epiphanies that sit in the studio, that come from the studio that end up allowing me to think about the external world from the happenstances in the studio, and from coordinated or measured gestures of rupture. And those ruptures could have implications of or sit alongside what folks could regard as kind of a material violence, or violence to a material, or decomposition, or collage, or something for the work to feel chopped like the ingredients are chopped up.I love a good metaphor, like a good salad, it’s aromatic with all the ingredients. Nothing overpowers one another, but it’s transformative. It holds meaning, sustenance, and maybe a level of a counterpoint, maybe the sunflower seed gets stuck in your teeth or something like that, you know?Ajay Kurian: You gave us a lot to chew on, even in the press release. At the end of that, there’s literally seven hyperlinks to run through. We had The Clark Sisters, Nina Simone, a trailer for the Unzipped documentary about Isaac Mizrahi, the Harlem Restaurant of which the show was named after, Sinners movie tickets.Eric N. Mack: Why not?Ajay Kurian: And Grace Jones on an Italian talk show or an Italian show.Eric N. Mack: A talk show, I think. It could have been Eurovision.Ajay Kurian: But that was serious. She was really in her pocket.Eric N. Mack: Yeah, it’s intense, ‘cause she’s in drag in a way. You know, she’s wearing this wig and I was like, the wig is architecture and the wig is like a hat. She’s architecture. If you’re watching the YouTube video or seeing the performance at the end, this camera pans out and she leans back and someone catches her as she falls and snatches her wig. Then she becomes this doll, this kind of copy of herself, this quotidian, you know the things that she would process with Jean Paul. She’s always around and I always think about her. She’s an interesting marker, because she’s such a clarified aesthetic. She’s a sound, she’s a voice and she also possesses her own tension. There’s incredible softness and vulnerability, but she’s also a tank, you know? The thing is, these images are also ones that she’s used herself. I just think that she will always be relevant.Ajay Kurian: There’s an ownership over the image too. There’s a way in which she’s self representing and it feels beautiful and antagonistic, but also really generous. To be both aggressive and generous at the same time isn’t an easy thing to do.Ajay Kurian: But I feel like, for her embodiment to be a black woman who is beautifully angular and masculine and feminine at the same time, it’s a lot to have to deal with, specifically in that moment of pop culture too.Eric N. Mack: Yeah. She’s an artwork. She’s her own artwork. There was an exhibition I did in London and I kind of couldn’t stop thinking about Misa Hylton. I couldn’t stop thinking about her. She was a stylist for Lil’ Kim and Mary J. Blige. So she was a part of this kind of bad boy regime, but she was a part of their visual representation. She’s an iconic stylist. Everybody takes notes from her in New York.Ajay Kurian: Really? It’s so interesting ‘cause I think you’re the first artist that I’ve talked to that holds stylists in this regard. That the grooming of an image, the understanding of what it takes to put together a scene, an idea, a world building essentially, that it’s happening completely behind the scenes. You’re really picking out these people to be like, you’ve changed this whole scene.Eric N. Mack: I mean, it’s what we do as artists. It’s just asking questions like, okay, what’s in the byline? Who did this? Who’s the architect? She called herself the architect, and I respect that. There was an awareness and a renewed understanding of her importance as these looks became more prominent again.The nineties in general as a kind of nostalgic, bygone era, that we were there for. So it also is an interesting thing to think about, who made the thing that sits in your heart or that sits with you, that rests in your references, and that you connect with? Who made that? Obviously, I mean, that’s what we do. That’s research.Maybe people don’t look at the production of the image as much as, you know, there’s a lot of romanticism around the fashion designer and who made the garment, but you won’t see the garment without seeing how it was put together and how it was aligned. The tension.Thinking about my good friend, Haley Wollens who has been working for a long time. I think more recently she’s done Dsquared, she’s done Au Claire, she’s done all of these important brands that end up being reconstituted, recomposed by this unseen hand.Ajay Kurian: That’s the thing. It’s a level of research that is fascinating to me because I think everybody gets caught up in the director and the designer. Even when you’re a kid, you watch the movie and you like the movie.Then there’s the kid that finds out who the director is. Then there’s the kid who finds out who the producer is. That’s a different kid.Eric N. Mack: It is a different kid. But you know, sometimes it’s meant to be that way. It may be structured for folks to be completely enamored with the superstar, with the actress or the actor. It was designed that way, you know?Ajay Kurian: Now I want to see behind that.Eric N. Mack: That’s what I do. I mean, that’s what I’m interested in. Questioning wasn’t enough, and was never enough. Like thinking about Amanda Harlech, she’s an incredible stylist who was a big part of the way that we experienced the early days of John Galliano and some of the more important days of Karl Lagerfeld. I mean, she’s established, but she’s a visionary and at a certain point she kind of sought Galliano out when he was finishing his degree at CSM. So there was a premise that was going around between them. They were collaborators. There’s something about the unseen magic in between these figures and some of the social qualities of discourse between two people that end up generating meaning for so many.Ajay Kurian: So what’s the plural for you? Do you feel like there’s similar relationships that you have in your practice? Of course, I know that you actually work with stylists and designers. There’s plenty of collaborative things that you’ve done. But when I think about the kind of classic idea of a painter, for instance. You have a studio practice, you go to the studio, you work, you come home and that’s potentially a very solitary thing.Eric N. Mack: I mean, it’s up to me, and it’s up to artists to be able to question that, to reposition that. Sometimes that works, and the main collaborator at this point is the curator.Eric N. Mack: So for this exhibition, shout out to everybody at Arts and Letters, Jenny Chasky, Nick and Juan — these are really important people in actualizing the exhibition. It was through conversation and also acknowledging that everybody, they got eyes and it matters like that we are all seeing. And I’m not afraid to ask what people are seeing right in the room. Sometimes people think that just means I don’t have vision myself and that’s stupid. But I think also with time, it’s also a practice for me, to see what I get from that.Ultimately, I’ll make my own decisions about these things. But it’s really important for me to be able to reflect from people who are familiar with the space that I’m working in currently. You know, I’m scratching my head, I’ve been here all day, why is this not working? There’s people who have been up on the lift and been able to see what the space looks like from all these different vantage points. The material that the walls are made from are all significant aspects of architecture that many of us can take for granted.Ajay Kurian: I’ve been lingering on this picture, because it’s kind of the first thing that you encounter when you walk into the space. There is a piece suspended from, and kind of draping, in the wind. And it was a really cloudy, somewhat rainy day. Just seeing that floating above does inaugurate an experience and what you’re about to move into. Your work, maybe more recently too, has felt like a collaged brush stroke.I think a lot of people might think of the brush stroke as a unit of expression. And what I really like about how you’re using the bolt of fabric is that it becomes both brushstroke as an expressive entity, but also, it kind of carries all the social weight of the ready-made as well. They happen simultaneously. It’s just this kind of non-binary thing where you’re not choosing between one or the other in particular moments. They just happen to exist at the same time. So you just see this streak across the sky of a variety of fabrics, and you can feel what each of them does to you without being able to place it. It’s a nice thing because then you walk in and it almost felt more like portraiture to me.These are all just like iPhone pictures that I took because I was too late in asking arts and letters for pictures, so that’s all me. But they’re not bad pictures. Then you get into this kind of diaphanous space and it just completely opens up. The whole space just has this air of levity and there’s brushstrokes in the sky and it feels like a realm of possibility. I know I’m waxing poetic a little bit, but I just really enjoyed the show. This is one of those moments where just seeing materials come together was such a nice moment.Eric N. Mack: I took this picture too. When you sent it to me, I was like, oh good. Because when we got the documentation of the show or I was talking to the photographer, I was like, get this, and I wanted that shape, that jagged shape where the scarf enters the picture and how it’s held together and being able to see the other side of the room through that. It’s framing, but it’s also the implication of the transparency and opacity kind of playing. I mean, for me, this one’s such a chopped salad. you know?The beauty isn’t its presence and almost shies away from image or something, like a fragrance. I’m thinking about a fragrance. I’m thinking about how one experiences layers of scent and how transformative that is no matter where you are. You know, that’s abstraction.Ajay Kurian: Then what title do you think of when you think of the perfume notes of the show?Eric N. Mack: I mean, sometimes it’s just literal, like one is called On vetiver.Ajay Kurian: Okay, so it takes you there too. It’s direct.Eric N. Mack: So I’m imagining, a little vial of oil, that would just be something that the fabric could be dipped in, you know, imagining it being like drenched in oil or the lived life of the fabric being like worn.Ajay Kurian: There’s the presence of a body. It’s interesting the way you’re talking about visuality when it comes to a scent. Because it, and you can correct me if I’m wrong, but the way you’re talking about it, it sounds like you’re able to imagine something without a picture. That it’s almost a posture with no body, or there’s something that gives an evocation of presence.And there’s a fragrance, this fragrance portrait of a lady that like, now I smell it everywhere. It’s everywhere. There was a moment when you could just pick it out of a room. As soon as I walked in, I’d have a picture, but it didn’t matter if it was the person or not, or if I matched it up. It was a different kind of picture.Eric N. Mack: I like that. Because it also is just about a material. It’s about like a plant or something. But it doesn’t give itself away and it doesn’t tell you about what it does or what it can do.The center figure is called bod. I thought that was really funny. But also thinking about bod cologne and just like a shorthand and thinking about the figure. Just trying to get there so it can carry notions of the viewer. There’s a lot I could say in terms of that work in relationship to the armatures.Ajay Kurian: The armatures are kind of new. I feel like there’s been kind of ready-made armatures in older works, but these are fabricated and then also kind of anonymous. There’s anonymity to them, to me, where it’s almost bureaucratic. It’s Subway poles and there’s this kind of brushed anodyne aluminum and it’s a highly specific form. It’s cantilevered and counterbalanced. There’s a lot of specific things, but then it also feels like a particular kind of architecture that’s city based. And then to have it have this delicate form draped on it. I’m curious about how these forms are continuing to develop, how you’re starting to understand them for yourself.Eric N. Mack: These were made really thinking about this space, the kind of variedness and wanting there to be an almost figurative element that would lean on the wall. Maybe the sculpture could be holding up the wall like a buttress or some kind of architectural element. Also, the kind of premise of scaffolding, and just thinking about how scaffolding is used as a structure for support. I mean this fabric, I’ve been carrying around for probably maybe eight years.Ajay Kurian: Wow. That was actually a question I had, do you have an archive of fabrics?Eric N. Mack: Absolutely. I love the properties of a pleated fabric and how, you know, thinking about structure and support, the fact that it could be almost self-imposed. It’s imposed on the surface. It’s like the structure comes from within, and it’s held through heat. I mean, that’s how pleats are made. And as the fabric contracts and then expands again. The form is communicated through that.Ajay Kurian: It’s really beautiful. It made me think of Matisse. Because it felt like a color study where this much red means something and this much red means something. And like then when you add dimension to it and light and all these other things, here is where the pleats stop and you can see a different orientation of color. It really is a different experience. It was a nice feeling to not have immediate vocabulary for what I was experiencing.Eric N. Mack: I think I was trying to describe an experience of looking at a painting and being like, how does this operate and why is it this specific form that’s significant? You know what I mean? And you look at it kind of pissed off. You’re just like, what? How does this do that? And why is it just one color that does it?Ajay Kurian: The first person that comes to my mind is Sam Gilliam and what that experience was like when first encountering that work. What was the first work of art that you can remember that pissed you off? Or that you had an adversarial relationship with? Sometimes things piss me off ‘cause they’re so good.Eric N. Mack: I’m trying to, I don’t know. I know there’s a lot. You can get angry at all the art out there, but really it is those gestures where you look at the side of the painting and be like, what? Oh, you painted that or you finished the edge like that or just these finalizing gestures that are about the craftsmanship of the work. It communicates to people who are craftsmen. I can’t think of anything that really pissed me off right now.Ajay Kurian: It’s good that you mentioned that moment of looking at the edge of a painting. To me, it’s something that I think about with your work where the line between craft and styling is completely blurred. So for instance, if you’re. Stretching Belgian linen and you’re building up a surface and then you’re applying oil medium. We know what that surface looks and feels like when it’s done right. And when it’s not, when it’s okay. The preciousness of when it really feels like luxury.With your work, there’s almost a slightly different motivation. That’s why it’s so cool to me that you can rattle off the most important stylist here, because to me, you understand that as a craft. You understand that as a world and how precise it needs to be. To think about styling and craft in the same conversation is very interesting to me because I hadn’t thought about it like that. I was thinking about how we both grew up on the Style channel.Eric N. Mack: That’s true.Ajay Kurian: That was a formative moment for me, the style channel and being able to see runway shows in high school. I started to think about why things look the way they look and got obsessed with a certain level of craftsmanship. I didn’t get into the styling part of it and I think that’s why I’m so intrigued by it. I’m curious, what was that early experience like for you? You were around a lot of clothes and your father had a clothing store, right?Eric N. Mack: Yeah, he did. My dad had a brick and mortar clothing store on the border of DC and Maryland. I don’t remember how many years, but he eventually renovated a moving truck and turned that moving truck into a popup. That’s the language now. But it was a clothing store in the back of a white moving truck. He put wood paneling, very nineties, and hangers and clothing racks and places where you could fold the jeans and put them in the drawers. Because sometimes you would hit a speed bump and the clothes would fall on the ground and me and my brother would have to go back there and fix everything before the light turned green.Ajay Kurian: And that’s when you noticed the silhouette of fallen clothes.Eric N. Mack: My room is like that, respectfully. But, I think I’ve always been interested in self styling or the things that you choose are emblematic and idiosyncratic. You know, you speak through them, they’re really important. Maybe it did start in my teenage years alongside of when I started drawing really seriously. I mean, we’re kids of the nineties, so it really was all about what you chose and how you speak through that. We know it now as like crazy psycho consumerist culture, but that was really tailored to us, you know?Ajay Kurian: I wonder what that felt like for you. Because in the beginning, art for me was just, I was good at drawing. And then there was a moment where it opened up into a conversation that was like, oh, you can create things that embody and live an idea and that there was a different kind of gesture that happens there and a different way that those things could live and challenge what already was.I’m curious because clothing, styling, and then also a real foundational understanding of drawing, painting. You went to art school and got an MFA at Yale, you did all those things and you had this kind of super foundation of art. But then you didn’t let go of the things that were kind of left out of that conversation. Did that happen? Does that happen naturally? Do you have to recover things along the way? Were there things that you felt like you had to push out of your life and then bring it back? Or did it all just kind of keep moving with you?Eric N. Mack: I think they were always together. I thought they were always important and I didn’t believe anybody that told me otherwise. You know, fashion for me was personal and it was something that invested time and interest.It was an interest of mine and it still is. I’m definitely an artist and there’s no carrot on a stick that could convince me to compromise that.Ajay Kurian: So your definition of an artist is far-reaching.Eric N. Mack: I’m also thinking about art as the viewership of art. I think the art audience deserves a lot more than what we’re seeing. I felt like a responsibility for the work to be drenched in exactly what I felt was most important. That’s why the work is so much about value. For you to see something is for you to see the significance of its presence. I wanted you to be able to look at a work and not be able to take away what’s there. It’s made concrete, it’s made manifest.Ajay Kurian: It’s almost like reorganizing the commonplace gives it a different scent.Eric N. Mack: I also will just say going to art school, I really believed that it was a place of invention. I was gonna be a part of a conversation about something that’s contemporary and new. I’m gonna go to get my MFA at Yale where we could be, I don’t know, flying paintings around. You know, just something that dealt with technology and it’s what we are not seeing now. There’s something about a futurist notion of innovation. I was looking for invention.Ajay Kurian: I feel like there was a particular moment, around that time that you would be in art school then, everything else was saying that painting’s dead and old. There was this kind of fire to be, no, it’s not dead. There’s other ways to reinvent it.Eric N. Mack: Right. Or it’s in plain sight. It’s in everything you see. There was a time where I told somebody I was a painter and they assumed that I was like a wall painter. And that’s an honest living.Ajay Kurian: I mean, if I told somebody in my extended family that I was a painter, they’d think I was a wall painter or house painter. They wouldn’t be like De Kooning.Eric N. Mack: Maybe they’d be like Picasso.Ajay Kurian: If you said artists, they’d say Picasso. You say artist and they don’t even think of anything besides palette. And there’s so many levels to it. There’s the thing that we think is gonna happen, which is we’re in the 21st century and it’s gonna be flying paintings, and then there’s people that are outside of that and they’re still in the 1600s.Eric N. Mack: There’s a lot of ways that people experience art and it is a part of the way that people think about beauty, decoration and decor, their interior spaces and I think that is also really important.Ajay Kurian: Yeah, and in fact, I think it’s more vital because the conversation about art with a big A is one that feels very dead to me. But I know that everybody who’s alive has a beating heart that tells them the things that excite them the most and they just haven’t connected the fact that’s art.Whatever your niche is, whatever you get most excited about, you can go into that infinity. I have no boundary about what that can be. What bothers me is that there’s still so much connective work that I feel discursively we have to do. Just let people admire the things that they admire.Eric N. Mack: I know. I think some of that stuff is not art though, to be honest. I’m disgusted about some of the things that people call art to be honest.Because I think people do give themselves a lot of permission in certain arenas, and I think art is one of them. But I do think that there is something about a kind of urgency. I think there’s something about a larger message. I think there’s something about being able to see an individual voice in a larger conversation that deals with a question of beauty. It is something about the tension of Contemporary reality, be that political, social, cultural. I think that there is something about the friction that art in itself is supposed to kind of possess these things.Ajay Kurian: Yeah. I see that and I can feel that. There’s things that are design, for sure. And I accept that as well. This is not Eric’s work, this is Petra Blaisse, who has her own firm called Inside Outside. I know that this person has been an influence on you and it sounds sort of like a stylist of spaces.Eric N. Mack: Absolutely.Ajay Kurian: This was so fascinating to me, to see the realms in which she works and then seeing this project in particular. It reminded me of your Desert X project.Eric N. Mack: Really?Ajay Kurian: Not that it’s the same thing, but just thinking about how to drape an architecture and thinking about what it means to give a space a halter towel. What do you think of someone like Petra, is that an art practice? Does it need to be called that? Does it matter? Is that just like somebody that you see working in the intersection of things?Eric N. Mack: I think there is someone working in between so much, but I see it as interior architecture in a way. Her firm is called Inside Outside, and I love the urgency to it and also the dexterity of it as a comment on the domestic and on the lived space. As architecture it would possibly be defined as dexterity in the built environment. Or as an imposition or a question on the built environment. There’s something advanced about this for me that feels so futuristic. The way that it would respond to the elements. You see how it billows and moves and the wall would be able to breathe.It reminds me, I used to live in this crazy loft in Bushwick, when I first moved to New York with my Cooper friends. I guess we just didn’t have enough money to build walls, so we ended up just putting up curtains for a while. They went up to the ceiling and it really wasn’t a productive way to live, but it looked great. And I was like, yes, this is painting. It was like a cotton duck kind of a canvas.Ajay Kurian: You really were drenched in it. When you say drenched…Eric N. Mack: It’s about recognizing it. This is what that is. I’m gonna make meaning out of this. Let me use it later. Taking note, you know? We were just 19, so it was still kind of early in references in terms of trying things out. That was a good thing about being in school. Let’s try out this way of livingThis was all about the structure, being able to breathe. Using the gas station structure, the canopy as a structural form. That was gonna be the unshakeable structure. And I didn’t want to completely obscure it, so there’s this kind of translucency of the knit fabric which is mostly made outta Smithsonian. Any kind of pattern you would see on this is Smithsonian Luxury Fabric. That was a really nice opportunity and probably my first engagement with a major brand.Ajay Kurian: So it was a conversation with them to understand this is what we have access to. You wanted that relationship to happen.Eric N. Mack: The way things happened for me again, is about a lived experience. I was doing a residency in Milan and I met one of the creative directors of Misson at a dinner and we chopped it up. But also, there was a tension and intensity around developing this large project. My curator at this time was Amanda Hunt, and she was just like, think big baby. I was like, oh, I just wanna hang some fabrics up and she’s like, think big. You know, you can do this. We have the support to do this. So I was like, okay, great. Then I was thinking about this conversation that I had and Milan and how amazing it would be to have this vestige of an experience be so expansive in this other moment.That conversation kind of led to this collaboration. It was very simple and direct. I chose from the PDF, and then to see them in person, it was just like, really?Ajay Kurian: You ordered the paints online and then you got the paint?Eric N. Mack: Right. This was a lot of fabric, probably the most fabric I’ve ever seen at that time. This was 2019.Ajay Kurian: I feel like there’s this conversation around art, that it needs to be purposeless. And in the ways that you install your work and the ways that it kind of suggests so many different things, it almost feels like the opposite, where it’s like an excess of purpose. And that maybe that’s the space in which art really starts to affect people. Where there’s the space of design that has a purpose. It’s beautiful and there’s artistic merit to it. But I think maybe what pushes art into a different category is that it not only has those purposes, it has other ones and as you get older, it has other ones. And as you move with it, it has other ones. It just keeps giving you new purposes. That it’s never purposeless. It’s an excess.Eric N. Mack: I’m thinking about the kind of nuance around it. There’s intent. There’s aspects about beauty that shift and develop through the experience of making, but it’s intent, like at least being a point where its presence can’t be denied. Because it’s intent in being there. Do you know what I mean? Its relationship to the support of this building. I want it to feel like the fabric needs it, so it’s clinging to it. And it ends up being compositionally reconstituted and there’s things that you get from that are unexpected. Like the way that the fabric billowed, but then also the way that it caught air and the movement ended up being its own kind of choreography. The rope is the same kind of rope that I used uptown at Arts and Letters. It’s like a canyon diving rope that I bought from REI. I talked to this guy at REI and he was like, this is tough as steel. This is gonna just survive everything, but it’s not gonna survive a knife cut. It could hold our weight or whatever, but it’s not indestructible, which is the way he sold it to me.Ajay Kurian: I always sense fragility and in everything that you make, every stitch, everything. That’s the kind of funny thing about super well tailored clothing. It falls on your body so beautifully, but also you can break it real easily too. It’s a very delicate, beautiful, gorgeous thing. When I see the work, there’s a precarity that feels like a social precarity. It feels like there’s clashing things coming together and holding. But if there’s a little too much rain, it might not be there tomorrow.Eric N. Mack: I mean, I think that’s a part of the concept. I think there’s some things that acknowledge presence, right? It’s the intention in being there at that moment that you see it. I like to think about fragility as a subject. So I want people to be able to regard it as part of the meaning and the content of the work. Thinking about the definition of sculpture, thinking about a dimensional object that has a condition, there’s a real world condition or social political condition that this object goes under. Having fragility on top of that, communicates in such a tense and interesting way, an importance of care. That’s when care comes in for sure. That’s when you know the importance of the architecture. That’s when you know the curator. That’s when all of these points of consideration that are seen and unseen are intentional and needed. Get full access to NewCrits Substack at newcrits.substack.com/subscribe
