Eric Dyer is an artist who brings animation into the physical world with his sequential images, sculptures, installations, and performances. Beginning with his pioneering films Copenhagen Cycles (2006) and The Bellows March (2009), which were made by shooting spinning cut-paper and 3D-printed sculptures, Dyer continues to reinvent Victorian Era optical devices, exploring topics related to media history, our relationship with technology, kinetics as a form of artistic expression, and the relevance of physical presence in an increasingly digital world. His work has been widely exhibited at events and venues such as the Smithsonian National Gallery of Art, Ars Electronica, international animation festivals in numerous countries, the screens of Times Square, and the Cairo and Venice Biennales. He has been honored as a Fulbright Fellow, Sundance New Frontier Artist, Creative Capital Artist, and Guggenheim Fellow. Dyer's fervent exploration of expression through motion has placed his work in books such as Re-imagining Animation: the Changing Face of the Moving Image, Pervasive Animation, Animation: A World History, and A New History of Animation. He has been a visiting artist at institutions such as Carnegie Mellon University, ECNU in Shanghai, and CalArts. Dyer teaches visual arts and animation at UMBC in Baltimore and is represented by the Ronald Feldman Gallery in New York.
“By displaying the concrete machinery of illusion simultaneously driving an environmental, cinematic experience, Dyer fundamentally advances the staid practice of video installation.” George Griffin, independent animation artist and voting member of the Academy of Motion Picture Arts and Sciences
“…a most unusual and very old 19th century zoetrope cyclical device using 21st Century combined techniques… places [Dyer's work] in a separate category that may have to be invented.” Bill Matthews, Head of Training, Disney Features
“Dyer's work bestrides cinema and gallery, time and technology, animation and animus, and effectively re-imagines animation through its long, lost past.” Paul Wells, Editor, Animation Practice, Process & Production Journal
Leading scholars in the field of moving image art have described Dyer's sculptures as “a whole new area of film experimentation and exploration,” and that they “breathe new life into animation as an art form.”