Sebastián Errázuriz has become one of my favorite modern artists of the modern era - even if he has been around circling the “in-the-know” groups of the art scene for some time.

Young at thirty-one and out of Chile, Errázuriz took out neighboring exhibits at Cristina Grajales’s New York gallery booth last year where he was named “Sebastián E” to showcase his work [quite like the imagination on ecstasy with an art credit tagged on].

Essentially he shocked observers without sex, he hooked them without drugs, and opened up facets of the mind to thinking that has never been executed in the physical sense before.

As I read about in Interview, SebE had displayed a glass table whose base was “an entire overturned Crespon tree,” a shelf similarly made from “a fallen tree branch with books stacked along its twisting arms,” and a desk lamp whose body was actually that of a taxidermy duck. I probably shouldn’t forget to mention his sketches of “a motorboat coffin” in which one would “sink for eternity inside the wood box.”

How I can volunteer to help the next time he relocates slaughter-house-bound cows “to graze on top of a downtown skyscraper”? His work with the city as his canvas [or clay slab, or recording studio, or pen and paper, or whatever art medium you fancy] has no boundaries. He lit a string of lights wrapped around a crane “over the city like a giant night lamp.”

Errázuriz’s art-imitating-life-imitating-art approach [“a fur coat out of teddy bears, belts out of belt buckles”] has me pinned to a savings jar to ultimately own a piece of this NYU-studied genius.

Those savings are definitely going towards that duck lamp. Definitely.

[photo courtesy of Interview online]