The first thing I noticed about Tomaselli’s work when I saw his piece “Woodpecker” at the VMFA, was the exceptional level of intricate detail that he creates. His work commonly explores themes of memory, exploration, and altered states of reality truly taking viewers on a fantastic journey. Many pieces explore the human desire to alter one’s own state of mind through the use of legal and illegal substances that “instead of traveling through the bloodstream to alter perception, these objects traveled through the eyeballs (Shields).” Ultimately, the main connection I have with Tomaselli’s work stems from his intricate collage and line work.
Bio
“Fred Tomaselli was born in Santa Monica, California in 1956. He has been included in numerous group exhibitions including ‘Open Ends’, MoMA, New York (2000), the Berlin Biennale (2001), the Liverpool Biennial (2002), the Whitney Biennial (2004), the 5th Site Santa Fe Biennial (2004) and ‘Ecstasy’, LA MoCA (2006). Solo exhibitions include Whitney Museum of American Art, New York, (1999), Palm Beach Institute of Contemporary Art, Florida (2001), Site Santa Fe, New Mexico (2001), Albright-Knox Gallery of Art, Buffalo, New York (2003), Fruitmarket Gallery, Edinburgh (2004), IMMA, Dublin (2005) and The Rose Art Museum, Massachusetts (2005).”
“Fred Tomaselli was born in Santa Monica, California in 1956. He has been included in numerous group exhibitions including ‘Open Ends’, MoMA, New York (2000), the Berlin Biennale (2001), the Liverpool Biennial (2002), the Whitney Biennial (2004), the 5th Site Santa Fe Biennial (2004) and ‘Ecstasy’, LA MoCA (2006). Solo exhibitions include Whitney Museum of American Art, New York, (1999), Palm Beach Institute of Contemporary Art, Florida (2001), Site Santa Fe, New Mexico (2001), Albright-Knox Gallery of Art, Buffalo, New York (2003), Fruitmarket Gallery, Edinburgh (2004), IMMA, Dublin (2005) and The Rose Art Museum, Massachusetts (2005).”
"White Cube--Fred Tomaselli." WhiteCube.com. White Cube, n.d. Web. 21 Mar 2011. <http://www.whitecube.com/artists/tomaselli/>.
Quotes
I am cognizant of the inherent limitations of painting and act accordingly. One of the great things about a good picture is ambiguity; a painting hanging on a wall should be able to resonate with different meanings over time.
Shields, David. "BOMB Magazine: Fred Tomaselli by David Shields." Bomb Magazine. New Art Publications, Fall 2010. Web. 21 Mar 2011. <http://bombsite.com/issues/113/articles/3625>.
It’s funny, but my sense of individualism has been diminished by my use of collage. I increasingly see myself as merely a conductor to the collective voices of the various authors that combine into my images. This sense of collectivity doesn’t just stop with the combination of images—it extends to the various pictorial traditions, manifestos, and philosophies that I weave together.
Shields, David. "BOMB Magazine: Fred Tomaselli by David Shields." Bomb Magazine. New Art Publications, Fall 2010. Web. 21 Mar 2011. <http://bombsite.com/issues/113/articles/3625>.
Halo of Flies, 2006
Mixed media, acrylic and resin on wood panel
18x18 in.
Big Raven, 2008
Acrylic, photo collage, and resin on wood panel
82x72 in.
Field Guides, 2003
Photo collage, gouache, acrylic, and resin on wood
64x84 in.
Video clip from the film Art in Progress
his work and method is fascinating
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