JUNE 2022: Featured Artist
Artist Finds Renewed Passion as Neo-Expressionist
Abstract Artist:
Thomas Cale
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Thomas in his Studio
Photo Credit: John Halpern |
Thomas Cale was born in the steel town of Johnstown, Pennsylvania, also known as “Flood City" for its historic and catastrophic floods. The grit of coal and steel from his childhood experience shows up in his current abstract work. Dark charcoal lines, smudges, revealing reworks, and paint-overs are mixed with quickly applied broad areas of color, dripping washes of paint, and twisted exaggerated figures. Expressive lines and brushstrokes reflect an intense emotional struggle in the characters that are represented.
Living and working in New York for over 20 years, Thomas continues to use human emotion and empathy as the basis of a raw and figurative style inspired by neo-expressionism. Using this energy to focus on a broader human experience, his new work expresses images and ideas that seem to be created in a frantic and random way. Faces, words, and abstract shapes are scattered across the surface. Symbolizing how the brain collects information and develops feeling before opinion, he shares this imagery in an effort to communicate on a deeper level with his audience. Thomas has always admired the work of Egon Schiele, Alice Neel, Joan Mitchell, and Jean-Michel Basquiat, not because of any specific technique, but because of their ability to transcend the limitations of conventional language and imagery through the emotional conversations of color, line, and dramatic simplicity. He hopes to reveal an honest perspective of modern-day human struggle and perseverance in a remarkable and complex world. Thomas has shown mainly on the U.S. East Coast and has had multiple solo shows in New York. |
Thomas discusses his journey to the abstract and his unique approach to neo-expressionism.
Please explain how the environment of Johnstown, Pennsylvania, where you spent your childhood, has influenced your work.
Aside from Johnstown’s historical 1889 “Great Flood,” which took the lives of 2,209 people, Johnstown is mainly known for its contributions to American industrialism with its abundance of iron ore and coal. What I remember as a child is seeing the brown rust and red brick of large steel plants and black dust from abandoned coal mines. Many of my ancestors worked in the steel mills and coal mines of Johnstown, and my father worked as a steel machinist in Pennsylvania for most of his life. After the early 80s recession, my family left Johnstown when I was 13, but the memories of the black coal, rust, and human grit still find their way into my paintings.
Please explain how the environment of Johnstown, Pennsylvania, where you spent your childhood, has influenced your work.
Aside from Johnstown’s historical 1889 “Great Flood,” which took the lives of 2,209 people, Johnstown is mainly known for its contributions to American industrialism with its abundance of iron ore and coal. What I remember as a child is seeing the brown rust and red brick of large steel plants and black dust from abandoned coal mines. Many of my ancestors worked in the steel mills and coal mines of Johnstown, and my father worked as a steel machinist in Pennsylvania for most of his life. After the early 80s recession, my family left Johnstown when I was 13, but the memories of the black coal, rust, and human grit still find their way into my paintings.
Past Particles
Acrylic, Pastel & Charcoal on Canvas ~ 75 x 60 inches © Thomas Cale |
Regretta Imperfecta
Acrylic, Pastel & Charcoal on Canvas ~ 75 x 60 inches © Thomas Cale |
For those who may not be familiar, how does your work fit into the neo-expressionist style? Have you put a 'twist' on this style?
I consider myself a fairly new abstract artist. I’ve been a serious painter for over twenty years, mostly focusing on the figure and portrait painting. About five years ago, I found myself becoming restless and needing to bring new life into my art. I relate to neo-expressionism mostly because these artists pushed back against minimalism and conceptual art by bringing recognizable objects back into ambiguous abstract work. My art is a reflection my memories, emotions and reactions to the world around me. My approach is sometimes very deliberate, but mainly stream of consciousness.
I consider myself a fairly new abstract artist. I’ve been a serious painter for over twenty years, mostly focusing on the figure and portrait painting. About five years ago, I found myself becoming restless and needing to bring new life into my art. I relate to neo-expressionism mostly because these artists pushed back against minimalism and conceptual art by bringing recognizable objects back into ambiguous abstract work. My art is a reflection my memories, emotions and reactions to the world around me. My approach is sometimes very deliberate, but mainly stream of consciousness.
Sleeping Pills Pandemic Dreams
Acrylic, Pastel & Charcoal on Canvas ~ 36 x 36 inches © Thomas Cale |
Time Does Not Bring Relief
Acrylic, Pastel & Charcoal on Canvas ~ 36 x 36 inches © Thomas Cale |
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What was the inspiration behind "We're in Record"? I created ‘We’re In Record’ in 2020 as a reaction to the pandemic and inspired by Laurie Anderson’s song “Same Time Tomorrow,” where she questions directly whether things are getting better or getting worse. It is interesting to me how, in times of great turmoil and uncertainty, we still see divisive images of vanity and find consumer-driven delusions of grandeur. The figures in the painting represent vanity, while among them are chaotic lines, pills, and a ball symbolic of the coronavirus. The bison silhouette came in accidentally after adding several swipes of black paint, so I added the eye, nose and horn to make its mystical presence official. Many of the bold strokes in your pieces have a frenetic energy, but your use of color seems deliberate. Is this true, or do you let the piece guide your color choice as you go? Color generally sets the mood for my paintings. My backgrounds will often begin and end with a solid color. But just as frequently, I’ll add color under and over images to adapt to where the piece is moving or to block words or images out that I no longer want to see. |
We're In Record
Acrylic, Pastel & Charcoal on Canvas ~ 36 x 36 inches © Thomas Cale |
It is very important to me that my lines contain the energy released through my hand and arm directly onto the canvas. I enjoy a sense of ‘random precision’ with the initial broad frenetic lines. My paintings definitely exhibit a gradual process of transformation, and I feel that remnants of items removed can be just as important as the more conspicuous visuals that remain.
Every City
Acrylic, Pastel, and Charcoal on Canvas ~ 36 x 36 inches © Thomas Cale |
Micon
Acrylic & Pastel on Canvas ~ 48 x 48 inches © Thomas Cale |
Although abstract, the facial expressions exude strong emotion. How are you able to do this?
Like many artists, I’m attempting to send a relatable message to the rest of the world. I want people to feel something when they look at my work. And what is more relatable than the human figure? I love pulling images from fashion magazines and incorporating them into my paintings. In most cases the models are looking squarely at the camera, which puts the viewer in direct contact with their eyes. When I reinterpret these figures, I often exaggerate their features and even at times make them appear grotesque. I enjoy the thought of the viewer subconsciously thinking, ‘This looks like a fashion model, but something is weird. Something’s off. It’s imperfect…more real.’
Like many artists, I’m attempting to send a relatable message to the rest of the world. I want people to feel something when they look at my work. And what is more relatable than the human figure? I love pulling images from fashion magazines and incorporating them into my paintings. In most cases the models are looking squarely at the camera, which puts the viewer in direct contact with their eyes. When I reinterpret these figures, I often exaggerate their features and even at times make them appear grotesque. I enjoy the thought of the viewer subconsciously thinking, ‘This looks like a fashion model, but something is weird. Something’s off. It’s imperfect…more real.’
I'm Afraid (I Don't Know)
Acrylic & Pastel on Canvas ~ 60 x 56 inches © Thomas Cale |
Pandemic Poets
Acrylic & Pastel on Canvas ~ 36 x 36 inches © Thomas Cale |
What artists have inspired you?
It’s probably clear that I am heavily inspired by Jean-Michel Basquiat. His paintings affect me almost immediately, even before I have the chance to allow my mind to attempt to interpret them. To me, that is very powerful. If I can achieve that through my work, I’m doing my job. Other artists that influence me are Joan Mitchell, Alice Neel, Willem de Kooning, Robert Henri, and Cecily Brown. All of these artists touch me on an emotional level.
It’s probably clear that I am heavily inspired by Jean-Michel Basquiat. His paintings affect me almost immediately, even before I have the chance to allow my mind to attempt to interpret them. To me, that is very powerful. If I can achieve that through my work, I’m doing my job. Other artists that influence me are Joan Mitchell, Alice Neel, Willem de Kooning, Robert Henri, and Cecily Brown. All of these artists touch me on an emotional level.
Please Hold
Acrylic, Oil Stick, & Spray Paint on Canvas 84 x 58 inches © Thomas Cale |
UPCOMING EXHIBITIONS:
"Leave A Mark" July 1 – August 28, 2022 Wallkill River School Montgomery, NY Solo Show Early 2023 West Strand Art Gallery Kingston, NY |
