Thomas Spears

The work is about Prehistory. It is about the relationship between the sacred and the profane, predestination and free will, creation and destruction, consequence and choice, grace and futility.

The work is made up of landscapes that are first drawn “en plein air.” I take these drawings and paint them over and over again, objects are stacked on objects, forms placed over forms. The work is not non-objective, the work is multi-objective. There is no regard to the original size or scale of a particular form. All objects are given equal weight and measure, which are dictated by the composition of their new environments. The work is in geological time, it is a complete narrative showing the beginning, middle, and end of a recounted event. The images are painted, sanded, erased, and painted over again. There is no distinction from a section that is made by an additive process or a subtractive process. The image’s single form is only as important as the form next to it. There are numerous false endings, false starts, erasures, regrets, and acknowledgments.

By building the images against and for each other, the foundation is both hidden and revealed. The intent of the work is that what we will call the beginning, middle, and end is ultimately set free from its bondage to corruption. The work becomes a reflection of the sum of its parts, it is the byproduct of something new made up of something old.