Erin Forsyth is a visual artist and illustrator whose practice explores the intersection of cultural and bio-diversity through research and application of aesthetic association, taking form in film, mural and illustration works Forsyth describes as ‘contemporary archetypal’ or ‘gateway’ images. Erin creates distinctive imagery examining and recording cultural and biological decline referencing traditional and contemporary symbolism, archetypes and anecdotes. For over ten years Erin has refined her practice working with a variety of mediums including oil painting, video, pigment liner and aerosol. An overview of her personal and commercial work reveals a dynamic visual dialogue, which when subjected to interpretation or inspection shifts, from satirical, to sardonic, to serious, and back again.

This process of image construction is demonstrated in her ongoing series ‘Tauhou’ - aligning natural history illustrations of native flora and fauna with scientific information – the basis for her recent solo exhibitions A Few (Pah Homestead, November 2018) and New Works (Whitespace Contemporary Art, October 2017) and the poster Taonga O Aotearoa produced for Predator Free NZ. While Forsyth’s hand-painted 60sqm mural (January 2018), encompassing the solar battery compound which powers the lights of the Auckland Harbour Bridge (commissioned by Vector Lights and Panuku Development) takes a more ethereal approach telling the ‘story of clean energy’.

The controversial sculpture Kid Justice commissioned by Auckland Council to commemorate Suffrage 125, is a natural extension of Forsyth’s practice in 3 dimensional form.


People talk:

Selecting Erin Forsyth to illustrate the poster was a no-brainer. It wasn’t just her skill at capturing the expressions and beauty of animals that impressed us, but her work in the conservation area also resonated with our vision; to protect New Zealand’s native species.
— Predator Free NZ
Erin Forsyth’s illustrative compositions have a limitless variety of subjects...subjects are treated to a level of draughtsmanship that is as fine as one may find anywhere”
— Matt Blomeley, Constant Practice
“All that is candidly dark and goopy - booty cheese passion, the delicious and grotesque - come together in Erin’s chaotic visual repertoire.”
— Mahala Rose, Curation Redux
“A dark gem in Auckland’s art scene”
— Cleo Barnett, King Brown Magazine


Erin’s work is held in private collections throughout Aotearoa, New Zealand and internationally and may be found in the public collections of the New Zealand Parliamentary Service, Wallace Arts Trust and Auckland Council.

Select Clients:

Auckland City Council, Puke Ariki Museum, Panuku Development, Lion Breweries, Stolen Girlfriends Club, Jimmy D, Workshop Clothing, Jane Sutherland, Damaged Goods Magazine, Converse, Red Bull, Tiger Beer, Zora Boyd Bell Jewelry, Depot Artspace, Artweek Auckland, The Royal Society New Zealand, Meridian Energy, 1:12 records, Sound Recordings, The Raw Nerves, 95bFM, Insight clothing, The Periodic Journal, Holy Serpent, The Admiral, Empire Skate, The New Order Magazine