Eric Daigh is a portraitist living in Michigan.

Considered photography sometimes and painting at others, most of Daigh’s work is probably best placed in the category of mosaic. His works often include an arrangement of small pieces.

Daigh’s work is exhibited internationally by museums, collectors, and art fairs, including New York’s Armory Show and Art Chicago.

Daigh’s creations are often the largest of their kind, as in 2010, when he made the largest installation to be constructed in New York’s Grand Central Station, or his piece for the 2010 Armory Show, which remains the largest pushpin mosaic in the world.

In my work I aim to explore themes of individuality and representation. My subjects are imprisoned, diluted, marginalized. Their escape, however, is imminent.

Whether a symptom of corporate and social homogenization, or the four base pairs of DNA, we are products of just a small handful of variables. In five colors of plastic, you can be reproduced.

I enjoy very much making something digital with my hands. I enjoy making work that requires a physical proximity. I enjoy the fact that this work travels from the intangible, the binary, to the tactile, the singular.
By invoking these mediums, I hope to generate a dialogue and sentiment that has something to do with the effort, repetition, focus, discipline, absurdity, and love that went into its making.

Ultimately, then, I hope those themes come crashing through the human in front of you, and spill over onto those you’re standing next to, those you know and those you have yet to know. I hope you spend more time staring at people’s faces and that you feel something in the process.

Using push pins, the innocuous, adhesive, near-detritus of our everyday Eric creates the view from here. His work is that rare arial perspective of the faces we see everyday, the vistas of common personalities, the longview of the human. You can stand up close, squint into the vacu-formed industrial sheen of some common object but such a perspective only argues the atomic structure of his work. As we pull back one quotidian reference morphs into another, objects become portraits, the pedestrian becomes sublime. Molecules, pixels, cultivated fields all speak to his medium. He starts with a flat 5 color cadence, all just rhythmic loops, then relationships form, a singularity shifts into subtle congress and depth and tones appear. We step back further and slowly, as if through the portal of some remote ship we suddenly recognize. That’s us. That’s me. His grids are pictoral DNA, a seemingly simple sequence that when sounded in its complexity reveals the honesty of the unrepeatable person

-Bradford Tatum

Eric Colin Daigh
b. 1977, Orange, CA
I am the son of a painter and a dental hygienist. I live and work in Northern Michigan with my wife and son. I am free from credit card debt.

University of Montana – Missoula, MT


Expo Chicago – Carl Hammer Gallery
‘Eric Daigh: happiness is a target’ – Dennos Museum Center, Traverse City, MI

ArtPadSF – Robert Berman Gallery
Art Chicago – Carl Hammer Gallery
The Armory Show, New York, NY – Pier 94
Solo Exhibition: ‘We Have One Conversation’ – Carl Hammer Gallery

Art Chicago – Carl Hammer Gallery

Communication Arts – Illustration Annual Winner
Guinness Book of World Records – “Largest Pushpin Mosaic”
Ripley’s Believe it or Not – Permanent Museum Collection
Old Federal Building, Grand Rapids, MI – 3rd Place, Artprize Competition

Right Brain, Traverse City, MI

Inside Out Gallery, Traverse City, MI