Erika Vogt lives and works in Brooklyn, New York. They received their Bachelor of Fine Arts from New York University and their Master of Fine Arts from California Institute of the Arts. They pursued their training with a practice-based Doctor of Education at Columbia University, on how communal knowledge becomes personal knowledge.
Experimenting with a range of media and techniques, E. Vogt explores the process of image creation and its ritual interchangeability with objects. They have been redefining conventional visual grammar for years, developing new plastic and collective forms of subjectivity in objects, installations, videos and collaborative theatrical performances.

The layering of a variety of media such as sculpture, drawing, video and prints in their site-specific installations unfolds meanings attributed to images and reunites artworks with their audiences in the same dimension. E. Vogt’s practice is pervaded by fragmentary scenarios, repetitions, juxtapositions and overlap; there is no direct orientation. It is infused with tactility and empathy, and a talismanic aura that allows objects to transcend time and space.

Though E. Vogt’s trajectory began with queer experimental film, they expanded it by creating cinematic environments, bringing their work into more direct contact with the viewer. Playfully conflating and incorporating their earlier drawings or paintings into found and self-generated moving images, E. Vogt’s practice avoids fixed language while staging self-reflexive gestures and positions in response to avant-garde traditions and strategies.
In the hypnotic installation Secret Traveler Navigator (2010), shown in the 2010 Whitney Biennial, the movement of silhouettes handling a set of objects, the use of digital and analogue techniques, produces a sense that the film is almost sculptural, embodying a mysterious plot, incorporating unconscious and surreal manifestations. The idea of having no narrator led E. Vogt to conceive artworks with a nonlinear approach and cooperative production-making, embracing a collective process of aesthetics and experimentation, which she initiated with the Artist Theater Program (2011). Conceived as a platform for community-building, stages in different locations become sites for live exhibitions and collaborative group exhibitions, thus avoiding with the predefined roles of exhibition models.

Stranger Debris Roll Roll Roll at the New Museum in New York in 2013 was E. Vogt’s first solo museum exhibition. For it, they invoked their earlier interest in rituals, the exchange of objects and unpredictable meanings through their fascination with debris fields. In this work, a dense array of cast plaster and found objects is combined with a series of video works and drawings as residual materials with ambiguous functions, later expanded in the solo show Speech Mesh – Drawn OFF (2014), co-produced by Triangle France in Marseille and The Hepworth Wakefield in the United Kingdom. Plaster-cast objects frequently appear in E. Vogt’s work, typically modelled after recognisable items, but made unusual through alterations in scale and colour.
This approach informed their solo gallery show Eros Island: Knives Please Rise at Overduin & Co (2016). It is in line with E. Vogt’s long-lasting investigation into triggering reflexive and intuitive processes in order to change the physical relationship to artworks through repetition and abstract systems, entangled with ancient ceremonial objects.

E. Vogt’s work is included in many collections, such as Fondation Galeries Lafayette, Paris; Hammer Museum, Los Angeles; Metropolitan Museum of Art, New York; and the Fonds régional d’art contemporain Bretagne in Rennes, France.
They were awarded a Teachers College Doctoral Fellowship in 2020.