That piece, entitled "Acceptable Losses," just kills me – causes an upwelling of memories and emotions, not all of them good. I've been wanting it ever since I saw his work at Ektopia last summer. I was under the impression that it had been sold, and was probably priced out of my reach anyway. I was thrilled to discover that wasn't the case.
The pictures I took weren't great. Here are some from Thomas Doyle's website. The level of finish on these pieces is incredible. Each of the floorboards under the house is delineated, and the attention to detail extends to crumbs of dirt clinging to the foundation from before the earth fell away beneath it.
The artist's statement from Thomas Doyle's website describes the effect these have in person quite well:
"My work mines the debris of memory through the creation of intricate worlds sculpted in 1:43 scale and smaller. Often sealed under glass, the works depict the remnants of things past—whether major, transformational experiences, or the quieter moments that resonate loudly throughout a life. In much the way the mind recalls events through the fog of time, the works distort reality through a warped and dreamlike lens.
The pieces’ radically reduced scales evoke feelings of omnipotence—as well as the visceral sensation of unbidden memory recall. Hovering above the glass, the viewer approaches these worlds as an all-seeing eye, looking down upon landscapes that dwarf and threaten the figures within.
Conversely, the private intensity of moments rendered in such a small scale draws the viewer in, allowing for the intimacy one might feel peering into a museum display case or dollhouse. Though surrounded by chaos, hazard, and longing, the figures’ faces betray little emotion, inviting viewers to lose themselves in these crucibles—and in the jumble of feelings and memories they elicit.
The glass itself contains and compresses the world within it, seeming to suspend time itself—with all its accompanying anguish, fear, and bliss. By sealing the works in this fashion, I hope to distill the debris of human experience down to single, fragile moments. Like blackboxes bobbing in the flotsam, these works wait for discovery, each an indelible record of human memory."
I believe Lebasse Projects still has this one available, and will be getting more in the future:
Post by LeBasse Projects on Jun 1, 2009 11:39:03 GMT -8
Thomas was one of the big "stars" of this past weekends Artwalk. We had to post an intern next to his piece to prevent people from trying to touch it. These pieces are unlike anything i have seen in a gallery, which is maybe why I like them so much.
Stay tuned for a show of his work at LBP towards the end of the year. We also have a list of a few available pieces...email Kim@LeBasseProjects for details.
A quick note to let you know this Sunday, June 14th, I will have a sculpture on the cover of The New York Times Magazine. The Times commissioned two separate covers - one from me and one from an illustrator in Japan - as part of its annual architecture issue. Both covers will be on newsstands simultaneously, alternating in copies of this Sunday's Times. This issue also launches a redesign of the magazine itself.
Wow, that's great. "Next level" as the kids are saying these days. His work makes me nervous though...it's so delicate. I've had many Spinal Tap moments involving my 6 year old daughter since I got my Doyle piece. "Don't even point at it."