Born in Monteregie, Quebec in 1975, he lived and worked in Saint-Jean-sur-Richelieu from 2007 to 2015 before moving his family and workshop to Longueuil, Québec. His sculptures are seen in and collected by galleries and are part of public, institutional and private collections. The artist’s work is represented by galleries in Montreal and in California.
A Bachelor of Visual Arts and of Philosophy, Éric Nado began his career in Montreal, Canada, in 1999, and was part of the 2002 founding cohort of Montreal’s first artist housing cooperative, the Lezarts Cooperative.
Since presenting solo exhibits in artist centers such as Observatoire 4 in his early years as an emerging artist, Éric Nado has grown to be recognized by his peers and by art galleries and commissioners. He was chosen to be enlisted on the Integration of Arts to Architecture Program (1%) of the Quebec Government. In moving to Saint-Jean-sur-Richelieu, he plunged will full on creativity in the rich inspiring industrial and military heritage of the region.
Éric Nado is represented by the Laguna Gallery of Contemporary Art in California and at the C.O.A. Gallery in Montreal, Quebec. His work has been purchased by many collectors, private investors and public instances in the past fifteen years and commissioned by private companies for various means. Since 2012, he has acted as a Cultural Mediator to many City Summer initiatives and is invited annually to speak in art classes and conferences, both targeting children and young adults in social reinsertion.
Since 1999, there has always a common thread to Nado’s work, the storytelling of our collective past through nostalgia-imprinted sculptures and assemblies.
From scraps of industrial machinery, recycled and salvaged from various urban spaces, Éric Nado’s original approach was to create robot-looking figures inspired by the Czech etymology of the word “robota”, literally meaning “forced work”. Around these characters that recall to the working class, a visual presentation was set up as an attempt to bring to life and materialize the notion of work. For close to ten years, Nado was successful at humanizing these machine-inspired figures, the Humanonyme Series, and at suggesting an interpretation to the collective fiber they come from and stand for.
Urban exploration and the quest to tell stories of the past through sculpture-assembly has remained an intricate part of the artist’s creative process. From the relics of our past, Nado creates imposing tribute pieces to a collective recollection and inspire a sense of nostalgia. In moving to Saint-Jean-sur-Richelieu, home to the Singer Factory and to the Canadian Military, his work evolved to add two conceptually strong art series to his portfolio: the Seamstress Series and the Typewriter Guns Serues.
The reconstructive sculptures of the Seamstress ongoing series evoke the strength of feminism, the working talents of women and the collective memories of a simpler perhaps more fulfilling past.
As per the Typewriter Guns, the figurative pieces made from the deconstruction and reconstruction of typewriters refer to the undeniable force of words throughout time.