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Jeremy ThomasHidden Blues2020
2020
About the Item
forged mild steel and acrylic urethane
Jeremy Thomas is a maker. His work explores objecthood; how a sculpture interacts with its surroundings, how the viewer interacts with a sculpture, and how works have changed and evolved. Most recently his work has involved more complex forms; expanding the structural vocabulary he has been building on for the last several years, one work informing the next. The sculptures now include revealed interiors, window passageways to look into and through, and shifts in color and finish. The artist’s use of color and material further examines the idea of the object, such as the colors chosen, which may reference industrial machinery, cosmetics, or muscle cars; or the unpainted surfaces of the sculptures, whether the smooth and bright nickel or the oxidized and aging. The pairing and blending of those colors, surfaces, and references create hybrid narratives and identities, resulting in a unique object each time. Thomas is included in the public collections of Albright-Knox Gallery, Scottsdale Museum of Contemporary Art, Frederick R Weisman Foundation, New Mexico Museum of Fine Arts, and the Quartz Mountain Arts and Conference Center.
- Creator:Jeremy Thomas (1973, American)
- Creation Year:2020
- Dimensions:Height: 8.5 in (21.59 cm)Width: 17.25 in (43.82 cm)Depth: 10 in (25.4 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Phoenix, AZ
- Reference Number:
Jeremy Thomas
Admirers of Jeremy Thomas’ sculpture should be grateful to a thief. Thomas came to the College of Santa Fe to study Studio Arts as a painter and printmaker, both of which he had been doing since high school, even apprenticing with a master printmaker in his native Oklahoma. However, one semester while moving out of his dormitory, with boxes and bags piled around, the wooden box which held all of his brushes and painting supplies went missing. One moment it was on the curb, the next it was gone. Thus ended Thomas’ career as a painter. The next semester he took a sculpting class and never turned back. While Thomas is happy to converse about theory and concept, he is most content thinking of himself as a maker of objects rather than an “artist”. To him, the label of “artist” is a mantle placed onto a person by society, which in the current day has as much to do with trends as it does with the production of great work. He is insistent that making objects is a natural impulse for all humans. Some people make pies or spread-sheets, some make books or sculptures. It is the pragmatic that draws Thomas. Asked about his influences he asserts that his primary influences do not come from the realm of art but rather from everyday living. “I don’t eat, sleep, and breathe art,” he comments. His discovery of metal-working arose in a similar, practical way. Thomas had been sculpting with stone and asked someone to show him how to forge his own chisel. This was the start of his exploration of forging techniques and after a time he gave up working with stone to work with metal. One of the key aspects of blacksmithing that intrigued Thomas was fact that it isn’t instantly gratifying, and it poses questions that aren’t easily solved. He interned with Tom Joyce (recipient of a MacArthur genius grant) and later worked in Santa Fe as a blacksmith creating items as diverse as fireplace screens and light fixtures, but always continuing to make the objects of “art”. His current inflatable steel sculpting technique is something he stumbled upon during a demo for one of his sculpture classes. Steel, Thomas says, has a clay-like malleability at high temperatures. He welds forms together which can be heated and injected with pressurized air, causing them to inflate and “grow” into their final shape. The final pieces contain paradoxes: metal molded by air, sensual forms in forceful fetish-finish primary colors gleaned from tractor manufacturers. These sculptures are changeable (as one continuously finds new approaches in their creases, angles, and wrinkles); they allow a dialogue between viewer and work. Thomas says he engages in an ongoing dialogue, a give and take, with his materials. He says, “Art is the science of play”, a creed that Thomas takes to heart, both in his work and in his life.
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- ShippingRetrieving quote...Ships From: Phoenix, AZ
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