Fred Tomaselli’s work
Introduction
Art is an important aspect of human life because of the fact that it adds value to the same and aids in the development of human creativity. It is a natural aspect that is perceived differently by various individuals. Further, it is a feature that has been appreciated since conventional times and can be considered a vital element that aids in the communication of social and cultural ideals, besides having aesthetic values. Most importantly, art has an economic value as the artistic skills and items are sold for financial returns. Modern art has different attributes and assumes varied forms. Painting is often at the core of art as it adds color that enhances the appeal of the object.
Any painting establishes a visual scope that is set with specific rules. Compared to conventional artwork, modern artists can be commended for having superb skills that are exhibited by their high quality products. This can be attributed to their ability to incorporate different skills when developing the same. One such artist whose work has won the hearts on many in the recent past is Fred Tomaselli. Indeed, it can not be disputed that the artist’s mastery of different artistic values is evident in his products. It is against this background that this paper analyzes the works of Fred Tomaselli. Elaborately, it will focus on his aspect of vision, hallucination, and transformation.
Fred Tomaselli is an American artist born in 1956, in California. He is particularly popular for his detailed paintings drawn on wood panels which combine an array of unorthodox materials that are suspended in a thick layer of clear resin. Fundamentally, his paintings seek to explore social relationships with regards to altered perception, escapism, immersive reality, and utopian/dystopian belief systems. In the United Kingdom, he is represented by the White Cube and in the USA, the James Cohan Gallery.
Generally, Tomaselli’s paintings are termed as fresh, lively and detailed in a hallucinatory manner. The various components on his paintings vary from pharmaceuticals, street drugs, natural psychotropic substances, collages elements that are originally printed materials and hand-painted ornaments. The paintings are coated with resin, and the clutters leaves, paper, pills, and paper to present great intergalactic panels. He combines medicinal herbs, prescription pills and hallucinogenic plants with images from magazines such as those of flowers, birds, butterflies, arms, noses and many more. These characteristics make his products unique and differentiate them from those of other artists. In this regard, Schwabsky contends that it is an indication that he pursues a theme that has not been successfully explored by other artists in the past (83).
These are beautifully worked out into patterns spread over the surface of the painting to bring out a sense of a beautiful virus or growth. A remarkable work of Tomaselli is the Organism of 2005. The painting depicts a man with transparent skin plunging into crystal chaos of stars, spider webs, and fractured mandals. This piece of art seems to bring out the human transition term as difficult between meat and mental ecstasy. In his review, Ayers also cites that Tomasseli employs different patterns of newspapers not only to create a specific texture but also to achieve a specific visual effect. This is an evident feature in most of his artworks and has been successful in creating the desired effect. Further, Rondeau indicates that his use of patterned newspapers is a sustainable way of conserving the resources that could have otherwise been employed in creating respective patterns. Nevertheless, it can not be disputed that his use of newspapers is a unique feature that gives his pieces of art a specific identity.
Organism, 2005
In his personal view, Tomaselli contends that his paintings are windows into a surreal and hallucinatory world (93). He further incorporates allegorical figures such as in the untitled painting of 2000 where he borrows figures of Adam and Eve from Masaccio’ Expulsion. Another illustration is the Field Guides (2003) where he creates his version of the grim reaper. The figures in these paintings are described in an anatomic way such that the organs and veins are outwardly exposed like in a scientific drawing. Thus at this juncture, it can be argued that his mixture of themes culminates in rich pieces of art that are appealing to different viewers.
Tomaselli explores the relationship between nature and man and therefore depicts archetypal forms through the materials, color, and pattern that he uses. This means that he is connected to various artistic and literary aspects of romance and wilderness. His paintings portray an aspect of spirituality and personal transformation that is connected to an immersion which may be either communal or individual in nature. Basically, his paintings are symbolic and humble and are aimed at creating spiritual correspondences (Schjeldahl, 97).
He is unique in his presentation of the same from previous artists by the fact that the American landscape has been transformed radically in its quality and experience. An example of this transformation is a look at previous decades where people used to live in the woods but today, those who do so are regarded as dangerous and frightening. The painting, After Migrant Fruit Thugs (2008) is a classic illustration of how Fred Tomaselli portrays the hallucinatory visions that seem to radiate from the original work of the same title. In this, he uses silk and gold threads to create two luxurious birds that seem to be in paradise, and are set against a fantastical nocturnal backdrop.
Another painting, The Big Bird (2004) on an overall general visual aspect, is a colorful exotic bird species that is perched upon the branch of a tree against a star-filled sky. His employment of color in this respect can be considered to effective as it clearly highlights the two varying environments within which the bird is situated. On a closer look, the bird is a representation of hybrid parts with its body constitution swarms of tiny flowers, eyes, and beaks.
Use of color in this regard plays a critical role of clarifying the minute details that could have otherwise been overlooked. The overall aspect of this painting is unsettling as the bird seems to lie in between the natural wonder and mutant monster. The Big Bird appears to be a confirmation of Tomaselli’s work of shaping of nature which is defined by infection, pathology, pain, and pollution. In this, Tomaselli also used different colors to invoke a feeling of texture too. This is important as it helps the viewer to make a clear differentiation between the different parts of the body and the environment within which its situated.
The Big Bird, 2004
Tomasseli also explores the concept of transformation in his artwork. Essentially, this seeks to provide the viewers with fundamental lessons with regard to social and spiritual values. In addition, studies indicate that transformation is informative as it teaches the society about the repercussions of various events and activities. Thus it can be used as a way of forwarning the same about activities that are likely to have far-reaching implications on their holistic welfare. With regard to Tomassells work, he employs transformation to inform the society bout the historical events that influence the Christian ideals that are revered by the same.
In his review, studies ascertain that Tomasseli uses human paintings to illustrate the concept of transformation. In particular, in his Expulsion, he depicts Adam and Eve being banished from the biblical garden of Eden. The garden in this regard is represented by a figure of a Mandala thatis fikked with pills and matter that are organic in nature. These features are also employed n his other artistic works like Airborne event as well as the Mellnium Phosphene Bloom. The inherent transformation has a lasting effect on the feelings of the audience as they evoke feelings of both pain and beauty.
Conclusion
Every painting with or without a frame is bound to bring out a focus of some energy in the universe. It establishes a visual scope that is set with its own specific rules. Fred Tomaselli is an American artist who is particularly popular for his detailed paintings drawn on wood panels which combine an array of unorthodox materials suspended in a thick layer of clear resin. His paintings are deemed to explore the relationship of the social with regards to altered perception, escapism, immersive reality, and utopian/dystopian belief systems.The various components on his paintings vary from pharmaceuticals, street drugs, natural psychotropic substances, collages elements that are originally printed materials and hand painted ornaments. The paintings are encased in resin, and he collages leaves, paper, pills, and paper to present great intergalactic panels. These are beautifully worked out into patterns spread over the surface of the painting to bring out a sense of a beautiful virus or growth.
Tomaselli explores the relationship between nature and man and therefore depicts archetypal forms through the materials, color, and pattern that he uses. His connection with various artistic and literary aspects of romance and weirdness is explicit in his paintings. His paintings portray an aspect of spirituality and personal transformation that is connected to an immersion which may be either communal or individual in nature. His paintings are symbolic and humble and are aimed at creating spiritual correspondences. In the After Migrant Fruit Thugs (2008) painting Fred Tomaselli portrays the hallucinatory visions. He attains this by using silk and gold threads to create two luxurious birds that seem to be in paradise, and are set against a fantastical nocturnal backdrop. In conclusion, it can be ascertained that he is an artist who can be considered to have fully mastered the basic principles of art. This is important as it has enabled him to produce products of exemplary quality.
Works Cited
Barry, Schwabsky. Paintings. London: White Cube, 2007
Fred Tomaselli. White Cube gallery Retrieved 18th April 2010, from <http://www.whitecube.com/artists/tomaselli>
James, Rondeau. “Interviewing Fred Tomaselli” in Fred Tomaselli, USA: Galerie Gebauer, 1999.
Peter, Schjeldahl. “Street Value,” The Village Voice, 6 (1997): p. 97.
Robert, Ayers (October 20, 2006), Fred Tomaselli, ARTINFO, Retrieved 18th April 2010, from http://www.artinfo.com/news/story/22791/fred-tomaselli/
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