Paul Masquelier, critic for the controversial review Eléments[1] has pointed out the narcissistic or regressive aspects of his paintings, while conceding their social commentary and the feeling of joie de vivre they convey.

It is a game with lines, first drawn in a spontaneous manner, random – much like a child doodling – then worked and reworked again and again until something new, a precise figure, character, emerges from this chaos.

[4] Samantha Deman, critic for the French information website about contemporary art Arts Hebdo | Medias[5] was enthusiastic after seeing the results in painting: "His universe is merry and fanciful, the stroke, spontaneous, has a great time on the canvas, virtuoso of the line, curves and arabesques, until the bright and luminous colours burst onto the scene and repossess it.

Eric Bourdon bends kind monsters into shape who glide gracefully among a faun of individuals whose silhouettes are of the most amazing, plump or lanky, always infinitly sympathetic and delighted to come to stimulate our dormant child souls.

He wrote a long article for the magazine Concepts 1, comparing the first ethnological discoveries of L. Ron Hubbard, later the founder of the Church of Scientology, to Zarathustra by German philosopher Friedrich Nietzsche.