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Tom’s studio practice conspicuously conceals found images of people by incorporating personal symbols such as hair, hoods, mirrors and masks and in the process attempt to reveal aspects of imagined inner personalities. For example, he appropriates Victorian Cabinet Cards by painting on the surface with gouache and use these portraits as psychological clotheshorses in which to create grotesque and sinister scenarios, enabling the projection of thoughts, fears and anxieties in an immediate and direct way and often with a macabre sense of humour. The people in these portraits are part of a community, a subliminal citizenship of his imagination.
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