“Envisioning a Different Universe Ruled by Robots and Donuts in Whimsical Artwork”
Toy robots have accompanied Eric Joyner throughout his journey at the Academy of Art in San Francisco. During that time, he would display a few on his shelves; however, despite their almost constant presence, it wasn’t until a decade later of working as an illustrator that he began to paint them seriously. The appeal of a toy robot lies in their striking appearance—they’re made up of angular forms, metallic color schemes, and serve as a delightfully whimsical subject. In his imaginative paintings, Joyner certainly values these traits, but he also elevates them further.
“I was initially driven by a deep curiosity to comprehend human behavior and the significance of conflict in all existence,” Joyner shares with My Modern Met. “To me, sentient life is the most intriguing topic, and by conveying this significance through the animation of inanimate objects, I hope to allow people to momentarily escape themselves and perceive things from a different perspective.”
Joyner’s latest solo exhibition, Looking Sideways, accomplished precisely that, immersing viewers into strange and surreal realms. In this world, robots buy ice cream cones from charming, local establishments; they take selfies while snuggled in bed; or they observe as Godzilla and King Kong battle across a barren, desert expanse. They frequently appear alongside another of Joyner’s recurring motifs: donuts.
“At first glance, placing robots and donuts together for any reason seems ludicrous—and it is,” the artist states. “I’m merely reflecting humanity back at itself. Here we are, yet unclear on why.”
No artwork illustrates this better than Matinee, where robots are depicted watching a showing of 2001: A Space Odyssey while enormous donuts cascade from the sky. Upon initial observation, the scene appears ordinary, featuring stark buildings and fluffy clouds. Joyner’s contouring is equally straightforward, mirroring a mid-century aesthetic reminiscent of Edward Hopper’s creations. Even the robots fit in, their blocky forms and awkward appendages not immediately noticeable. It’s the donuts—and their overwhelming size—that reveal Joyner’s inclination towards the absurd, prompting us to reevaluate the composition.
“Absurdity and surrealism play a significant role in my art as I attempt to decipher today’s world,” Joyner clarifies. “We must view things from alternative perspectives to gain a better understanding, grow, and avoid a consistently negative outlook, as favored by corporate media and politicians.”
For Joyner, robots and donuts “exist in peculiar harmony,” creating an uncanny sensation even in the most recognizable settings.
“The robots awkwardly reach for something human, reflecting our own endeavors to discover meaning in a world that is becoming increasingly disparate,” Joyner comments on Looking Sideways. “Donuts serve as both coping mechanisms and existential symbols: absurd, sweet, and ephemeral, much like the comforts we grasp in times of uncertainty.”
Despite its conceptual foundation, Joyner’s work remains lighthearted, humorous, and even relatable. In Moment of Truth, for instance, a robot mother has brought her robot child to a bakery, observing as he admires the wide array of donuts laid out before him. His metallic hands rest on the bakery counter, and although we can’t see his robotic face, we can still sense the emotions he must be experiencing: wonder, if not sheer delight.
“[It’s] my favorite painting [in the exhibition],” Joyner notes. “I aimed to encapsulate the moment a child visits a bakery for the first time.”
Regardless of their non-living subjects, Joyner’s paintings are profoundly engaged with humanity—what they desire, what they contemplate, what they feel, and, most importantly, where they will head from here.
“As we stand on the brink of an unclear future shaped by artificial intelligence, these works mirror our shared worries and quiet aspirations,” Joyner concludes. “They propose that perhaps even in a realm of circuits and programming, the yearning for affection, joy, and a donut remains a universal truth.”
Eric Joyner: Looking Sideways was recently exhibited at Corey Helford Gallery.