Gateway 2000, 2015, oil on board, 14 x 11in

Electra, 2015, oil on board, 14 x 11in

Commodore, 2015, oil on board, 14 x 11in

Selectra II, 2015, oil on board, 14 x 11in

For Electra, Commodore, Gateway, Selectra II, and Smith-Corona, Erbacher slips into the mind-set of an imaginary accountant. A type rather than any particular individual, Erbacher’s accountant humorously embodies as well as subverts some of the cultural clichés commonly associated with the profession: discipline, perfectionism, compliance, and unoriginality.
The series of paintings is created by her accountant alter-ego, who occupies his spare time with solitary hobbies such as rock collecting and Sunday painting. Each painting shows a cropped image of a computer or typewriter keyboard that has methodically been broken down into a “painting by numbers” system and meticulously filled in. The subject matter is seemingly uninspired, an everyday part of the accountant’s natural habitat, the office. The method of painting surrenders fluidity, uncertainty and discovery in favour of a process that is quantifiable, systematic and logical.
The keyboard paintings also reflect an on-going concern with language in Erbacher’s oevre. In particular, she interrogates the role of language as a system through which certain regimes of thought can be established, perpetuated, as well as undermined. By emphasising the character of language as a construct through a formal play on difference and repetition – in this case it is a cropped image of the same set of letters on different keyboards - she thus opens up a space of ambiguity and potential disorder.