featuring Edric Lee
Childhood is the lost paradise that we will forever miss
SAYS RISING VECTOR ARTIST Edric Lee, whose current obsession is to depict the past in the most wistful manner imaginable. For the purpose of revisiting such memories, music and photographs have unanimously been this era's choices. But the LASALLE College of the Arts alumni has reason to challenge this view: with his dynamic, no-frills designs that are heavily inspired by street-style artists like Shepard Fairey, Musketon, Staybold, and Benny Gold, Lee wagers that he might someday recreate the time machine.
That said, no mention of nostalgia is warranted without a veritable connection with an audience. So, even if you can expect the archetypal hipster to watch and listen to the most obscure of things, he admits that popular media references like My Chemical Romance and Power Rangers do a better job at entrancing the public. As a case in point, a bleeding razor blade visual emblematic of the emo days is more easily relatable as opposed to, say, a more esoteric endeavour like Puff Da Huf.
When questioned about the disparity of interpretations, the 27-year old reveals that everyone has a unique perspective regardless of their history, but confesses that as an artist, his visualization of yesteryear is likely to be sharper than one lacking the proverbial designer's eye. "I believe there is a somewhat generic past and a more real past, so I try to reproduce my memories as real as I can", the recent dubstep enthusiast shares of his philosophy.
While there is something peculiar about the indefinite scalability of vector art being symbolic of a forever untainted memory, Lee insists that is hardly the rationale for his art choice, but instead believes his well-acquainted craft to be most suited for him to communicate effectively with the audience. For instance, what he currently regards his magnum opus - the Journey to the West vector quartet - was created to shed light on the humble origins of each of the 4 protagonists (Wukong, Wuneng, Wujing, and Sanzang) in the idiomatic Chinese novel. The avid wearer of baseball caps is still in disbelief today that so many are ignorant of such illustrious history.
Lee's propensity to trick-or-treat-related festivities further illustrates how much the self-proclaimed designer at work and artist at heart values tradition and the poignant memories it leaves behind. If anything, brothers and sisters in Edric Lee's fellowship ought to be thankful for his digital encapsulation of every one of their characteristic attires in this decade. As commonalty, perhaps we can simply look to the day when the virtuoso takes us on a sentimental trip back to the future.
View Edric Lee’s spectacular vectorial portfolio here.