In further response to MW's blog and a conversation with my stepbrother/mentor.. Thomas Thoune I want to share an image of work of Tom's art practice of large scale public art. Here is a close-up detail image from a wall installation of his ..."Where east Meets West" . It's inspired by the industry in this area and the cogs that kept the machinery going. 80 percent of the china was donated by the community.. including china from the 1800's. Its installed along a stop of the cities new light rail system that connects the city. Currently Tom is attending a residency where he is working with similar materials in collaboration with local high school students. He has expanded his practice from solo work on beautiful paintings to utilizing craft techniques in collaborations with others from the community and assistant's (lucky me.. I was one of them). This sort of practice creates a great energy about it which resulted in media coverage and camaraderie in the community that a solo practice somehow negates in the same way. In what way does this collaboration bring importance to the meaning of the work? What dialogue does this work bring up for other artists who mainly partake in a solo practice? -xtina
Saturday, February 21, 2009
public art- Thomas Thoune
In further response to MW's blog and a conversation with my stepbrother/mentor.. Thomas Thoune I want to share an image of work of Tom's art practice of large scale public art. Here is a close-up detail image from a wall installation of his ..."Where east Meets West" . It's inspired by the industry in this area and the cogs that kept the machinery going. 80 percent of the china was donated by the community.. including china from the 1800's. Its installed along a stop of the cities new light rail system that connects the city. Currently Tom is attending a residency where he is working with similar materials in collaboration with local high school students. He has expanded his practice from solo work on beautiful paintings to utilizing craft techniques in collaborations with others from the community and assistant's (lucky me.. I was one of them). This sort of practice creates a great energy about it which resulted in media coverage and camaraderie in the community that a solo practice somehow negates in the same way. In what way does this collaboration bring importance to the meaning of the work? What dialogue does this work bring up for other artists who mainly partake in a solo practice? -xtina
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Thanks for sharing that project, I really the use of old china, pooling community mementos/refuse/resources (however you might see old stuff). At the end of the blog post xtina brings up something that I struggle with from time to time: I find a lot of meaning in the type of work described above, yet at the same time the reason I began and decided to continue in art is my love, skill, and/or propensity for studio work. Maybe it's just a matter of splitting up time well? I'll try and comment more on this in a blog post. mw
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