Bio & Statement



Erin Elizabeth Ross lives and works in Edmonton, Alberta.  She holds a BFA from the University of Alberta, and studied Visual Communication and Design at Medicine Hat College.   Her work has been represented in commercial galleries since 2008, and sits in multiple private and public collections.  Along with her commercial representation, Erin has had work in shows at the Art Gallery of Alberta, Latitude 53 contemporary Art Gallery, Harcourt house, the Art Gallery of St. Albert, and created an 8 panel public art piece for the city of Edmonton.

Public attention for Erin's work has included an award of excellence in Illustration from Communication Arts magazine, a feature article in Avenue Edmonton and SEE Magazine, a documentary segment on Alberta Primetime, and interviews with CBC Radio One, Profile magazine, Shaw TV, Telus TV, the Edmonton Journal. 

Erin is extremely engaged in her community.  She believes in promoting art as a crucial social investment in Edmonton, not only through her board work, but also by volunteering her time to assist on creative projects.  She was a pecha kucha presenter at the Mayor’s Think Tank: Our Arts, Our City, and has worked with the cities Arts Visioning Committee.  She believes in promoting art as a crucial social investment. 

Erin has been a director on the CTV Good Neighbour Fund board for the last 10 years, and chaired its largest annual fundraiser, The Poor Boys Luncheon, for 4 of those years.  She previously sat on the Latitude 53 board, as well as their fundraising committee, and was a co-chair and member of ArtsScene Edmonton.

Erin was also part of a 3 woman urban intervention team, LIVINGbridge, which imagined, organized and implemented the planting of a sustainable, largely edible community garden on an abandoned rail bridge in the heart of downtown Edmonton.  

A statement on her landscape work:


My work is a reflection of where I come from and how I relate to my surroundings.  With my landscape pieces, I take the romantic idea of the prairies, the “golden west”, then blow it apart and explore it.  They are melancholic and beautiful in their exploration of landscape and the “dark pastoral”.  

My work acknowledges traditional styles and genres of painting and drawing, but in an unexpected way.  I like playing with nostalgia, familiarity and perception, and I have a deep interest in color theory.

I use memory, personal and found photos as influence.


A statement on the fire work:


This fire work is an extension of my landscape practice.  I’m interested in the intersections between beauty and discomfort, memory and reality, and how we as humans explore these intersections. 

It took me a few years of working in this genre before I decided to introduce more literal elements into my landscape paintings.  I experimented with a few things, but eventually came to this idea of depicting fire destroying structures in modern, rural settings.  I wanted these fire pieces to feel both familiar and uncanny, I wanted them to capture a moment of violence in a beautiful way and say to my