Her style of painting tends to gestural abstraction and the themes she explores occupy "the territories of ancient myth, religion, and spiritual feminism," according to art historian Joanna Inglot.
Art historian Joanna Inglot explains: "By dividing each panel horizontally and vertically into grid-like sections, repeating black circular shapes in counterpoint with white diamonds and carefully measuring intervals between the forms, Erickson creates a sensation of expansion and contraction, 'in-and-out' movement throughout the entire composition.
"[2] At the same time, Erickson's preoccupation with the grid format emerges from something deeper out of her childhood memory of a county road outside of Austin, where the viewer meets the landscape.
[1] In her painting titled 101 Names of God: Awakener of Eternal Spring from 1996, Erickson creates a bristling field of short, white marks against a cobalt background interrupted in the upper center by a thin, vertical rectangular shape stippled with red mark; the painting appears to breathe and glow from within.
A beloved natural landmark in the Twin Cities, the waterfall ebbs and flows with the seasons, and its fluctuating spirit is palpable in Erickson's depictions.