Jeremy Thomas wurde 1973 in Ohio, USA geboren. Er lebt und arbeitet in Española, NM, USA.
Der amerikanische Künstler schweißt Stahlplatten aneinander, die dann in der Esse geschmiedet und mit hohem Druck mit Pressluft expandiert werden. Es entstehen so amorphe Gebilde, die mit typischen Bau- und Landmaschinen-Farben pulverbeschichtet werden. Seit einiger Zeit verwendet er auch irisierende Lacke, welche unter anderem in der Kosmetikindustrie Verwendung finden, und Acryloder Urethanverbindungen.
In seinen neuen Arbeiten setzt Jeremy Thomas sich mit den chemischen Strukturen von Pigmenten auseinander. Ein Bespiel ist die Skulptur „Pigment White 6”, deren Form an die chemische Struktur von Titandioxyd (TiO2) erinnern soll. Um dies zu verdeutlichen wählt Thomas auch die dazu passende Farbe, nämlich Titanweiß aus.
Jeremy Thomas was born in 1973 in Ohio, USA. He lives and works in Española, NM, USA.
The American artist welds together pieces of plate steel, which are then forged and expanded using pressurized air. The resulting amorphous forms are coated with synthetic powder to create a glossy surface in colors characteristic of machinery. For some time now he has also been applying iridescent lacquers that are found, for example, in cosmetic products like nail polish, as well as acryl or urethane compounds.
In his most recent works Jeremy Thomas investigates the chemical structures of pigments. One example is the sculpture "Pigment White 6", the form of which is reminiscent of the chemical structure of titanium dioxide (TiO2). To accentuate the similarity, Thomas has chosen the appropriate color – titanium white.
For the past seventeen years I have focused on inflating steel objects. In that time, my understanding of this and why I do it, has evolved from viewing my process as a metal sculptor, to the exploration of atmosphere and air itself. Air is ethereal, something we experience, yet defining it is difficult. Air’s seemingly temporary, intangible nature is elusive. The act of breathing air is the continuous chemical reaction that sustains our life. Air is one of the things that physically connects us to each other and all other living beings, through each respiration, affecting the atmosphere around each of us. What one exhales, another inhales, making for an unspoken, yet intimate exchange.
Air is measured and experienced through pressure and volume. This sets up a climate or prevailing set of conditions. This work is the visual experience of those conditions as applied to geometric constructs consisting of basic concrete geometry, stemming from the shapes found in the building blocks of life. These objects are grown more than fabricated. Each work is specific to the dialogue between maker, material and each moment of inflation. Creating a record of the object’s physical history within each crease, fold and mark. Within the random nature of inflation, is set up a series of relationships between surface, form, structure, color, and process.
Within our modern society we are bombarded continuously with color in marketing and imagery to affect our perceptions in our consumer economy. Color is used throughout commercial industry to objectify and manipulate. When these colors are removed from their original commercial contexts and re-appropriated by the individual, we are able to experience them viscerally, outside of these pretexts. This allows for a new experience, or reflection on past experience within the context of our color memory. Each object allows the viewer to explore and evaluate past experience in relation to these abstract objects, attempting to relate them to our current experience and climate.
Jeremy Thomas 2020
Until the Day is Done - 2019, kalt gewälzter Stahl und Urethan / cold rolled steel, urethane, 99 x 82 x 26,5 cm