Cold Cell, 2016
Oil on panel
Untitled (Celo 1), 2016
Oil on panel
Untitled (Girder), 2016
Oil on panel
Untitled (Window), 2016
Oil on panel
Untitled (Panels), 2015
Oil on panel
Ostia, 2015
Oil on panel
The Somnambulist, 2015
Oil on panel
Ubu Roi, 2015
Oil on panel
Untitled (Frames 1), 2015
Oil on panel
Untitled (to Peter), 2015
Oil on panel
Untitled (Steel 1), 2015
Oil on panel
Untitled (Steel 2), 2015
Oil on panel
Untitled (Steel 4), 2015
Oil on panel
Rotkäppchen, 2015
Oil on panel
Untitled (to Larry Bell), 2015
Oil on panel
Untitled (Vine), 2015
Oil on panel
Untitled (to Jhonn), 2015
Oil on panel
Untitled (Narita), 2014
Oil on panel
Cuddlefish, 2011
Oil on panel
The Dog Remembers the Wolf, 2011
Oil on panel
Stifle, 2011
Oil on panel
Untitled, 2011
Oil on panel
Bind 1, 2010
Oil on panel
Bind 2, 2010
Oil on panel
Mountain, 2009
Oil on panel
Cold Cell, 2016
Oil on panel
Untitled (Celo 1), 2016
Oil on panel
Untitled (Girder), 2016
Oil on panel
Untitled (Window), 2016
Oil on panel
Untitled (Panels), 2015
Oil on panel
Ostia, 2015
Oil on panel
The Somnambulist, 2015
Oil on panel
Ubu Roi, 2015
Oil on panel
Untitled (Frames 1), 2015
Oil on panel
Untitled (to Peter), 2015
Oil on panel
Untitled (Steel 1), 2015
Oil on panel
Untitled (Steel 2), 2015
Oil on panel
Untitled (Steel 4), 2015
Oil on panel
Rotkäppchen, 2015
Oil on panel
Untitled (to Larry Bell), 2015
Oil on panel
Untitled (Vine), 2015
Oil on panel
Untitled (to Jhonn), 2015
Oil on panel
Untitled (Narita), 2014
Oil on panel
Cuddlefish, 2011
Oil on panel
The Dog Remembers the Wolf, 2011
Oil on panel
Stifle, 2011
Oil on panel
Untitled, 2011
Oil on panel
Bind 1, 2010
Oil on panel
Bind 2, 2010
Oil on panel
Mountain, 2009
Oil on panel
My paintings are abstractions of the world I inhabit. The images are derived from photographs I have taken in recent years. My most recent body of work began with a series of rock formations I photographed in Narita, Japan. Exchanging earth-tones for flesh-tones and painting them on unpainted wooden panels, I traded the subjects' traditional roles as landscape for portraiture. Intrigued by that exercise in thwarting the familiar, I began using reflective objects to distort images of everyday vistas and environments. I excise details from the reflected images and paint them on both colored and clear-primed wood. Some of the source imagery remains, though highly abstracted by the distortion caused by the irregular surfaces of the objects the reflections are photographed on. I think of these selected images as micro-cosmoses of the world I occupy, at times familiar, but often wholly alien due to even the most minute of distortions to an otherwise familiar set of imagery.
Thomas Walsh received his B.F.A. in Painting from the University of Houston, and his M.F.A. in Painting from the University of Texas at San Antonio. After graduate school, he returned to Houston where he worked at the Menil Collection for fifteen years until recently moving to Fort Worth, Texas. His work has been exhibited at The Scottsdale Museum of Contemporary Art in Arizona, the Cactus Bra Space, Three Walls, the UTSA Gallery, the UTSA Satellite Space, and the Southwestern Bell Building in San Antonio, the HCC North Campus Gallery in Houston, Purple Orchid in Dallas, and the Royal Art Lodge in Winnipeg, Manitoba, and has works in the collections of the University of Texas at San Antonio and the Texas Research Park Foundation.
thomaswalsh025@gmail.com