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About Thomas

Baltimore City

Embodied Perspective

My work examines the visual and corporeal understanding of space. As a starting point, I take an uncompromising first-person perspective that forces viewers to see compositional elements as either connected or estranged.

In my paintings I fragment the compositions with body parts, such as nose shadows and arms. These elements obstruct the view, but also orient the viewer within an embodied perspective. The body orients vision in space. And from the interplay between space, sight and body, I paint. Working with dimensions such as wingspan, body height, and hand length, I paint in life-size so that my actions while painting enact bodily movements.

Head Gear

This series is a continued exploration of embodied perspective with particular focus on the bilateral structure of faces, what are worn on them, and how that influences seeing. Work in this body is 2D and 3D and examines both the interior and exterior of the head and the liminal membrane between.

  • Vacay

    Vacay
    2015, oil and acrylic on canvas, 54in x 36in
  • Pig Pen

    Pig Pen
    2015, oil on canvas, 64in x 94.5in
  • Lazy Eye

    Lazy Eye
    2015, acrylic on cardboard, 14in x 28in x 13in
  • Awake

    Awake
    Awake, 2014, acrylic and oil on canvas, 60in x 60in
  • Free

    Free
    2015, acrylic and oil on canvas on MDF board, 49in x 20in
  • Nose Nose

    Nose Nose
    2015, acrylic and oil on shaped canvas diptych, 40in x 36in (as installed)
  • Homefry

    Homefry
    2014, oil on canvas, 47.5in x 47.5in
  • Trifocalled

    Trifocalled
    2015, oil on canvas, 38in x 60in
  • Basker

    Basker
    2015, oil and acrylic on canvas on MDF board, 18in x 24in
  • Lightheaded

    Lightheaded
    2016, acrylic, Mylar, foamboard and cardboard, 21in x 12in x 7.5in

Dioramas

I make dioramas with parallactic illusions. Simply put, as you move, their compositions change. Using foamboard, yarn and reflective Mylar, I construct chambered objects and paint their facets with geometric shapes derived from linear perspective. These two-dimensional shapes straddle multiple planes, exposing the slippage between actual space and perspectival illusion. I am interested in this real, but hard to fathom, boundary between the conceptualization of space and our orientation within it.

  • Dois Irmãos

    Dois Irmãos
    2016, acrylic, yarn and foamboard, 18in x 24in x 9in
  • Untitled

    Untitled
    2017, acrylic on foamboard, 11in x 24in x 4in
  • Wedged

    Wedged
    2016, acrylic on foamboard, 25in x 22in x 17in
  • Asides

    Asides
    2016, acrylic on foamboard, 14in x 14in x 5in
  • Corridor II

    Corridor II
    2017, acrylic on foamboard, 11in x 24in x 4in
  • Vestibule

    Vestibule
    2016, acrylic on foamboard, 14in x 13in x 8in
  • Red Shift

    Red Shift
    2016, acrylic, Mylar, cardboard and light, 5in x 12in x 4in
  • One-Pointer

    One-Pointer
    2016, acrylic, screen, tacks and cardboard, 14in x 12in x 4in
  • Impinged

    Impinged
    2016, acrylic on foamboard, 11in x 24in x 4in
  • Noncompete

    Noncompete
    2016, acrylic, yarn and cardboard, 13in x 16.5in x 7.5in

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Thomas's Curated Collection

View Thomas's favorite works from other Baker Artists