The eraser began life in a French Academy in 1752, after latex had arrived in Europe from the New World. Prior to this, artists had used bread to remove their mistakes, but the ability to pour and mould the latex allowed for more accurate mark removal than, for example, a baguette.
Initially existing as small cubes, available for three shillings, they formed a symbiotic relationship with the pencil, and in the ensuing 150 years have presented themselves as a gargantuan pick and mix selection.
Their mildly sweet smell whisks you back to the 1980s, a smell that could easily be confused with the bottom of a My Little Pony. An initial squidgy yield hides a firmer centre which, if bitten or sliced with a sharp scalpel, is enough to warrant immediate cancellation of weekend plans.
All this before you have even considered their pastel-perfect range of hues, rounded corners and colour blocked layers. This devilish combination wills erroneous ways, to which we gladly surrender. Both physically appealing and nostalgic, it is no surprise that they are frequently used and referenced by both artists and designers.
Marcius Galan often works with stationery, but it's his eraser pieces which we love the most. Meticulously arranged in frames, he uses them to exacting degrees to ensure a gradation in size. His Eraser Compositions are designed to 'invoke a range of philosophical and art historical precedents to more metaphysical notions of matter and being.’ It is also helpful that they look splendid.