Empire of Light, oil on panel.
Frederic Stern Gallery has just received new paintings from local artist, James David Thomas. Mr. Thomas has crafted his views on the southland’s vistas for over two decades. He enjoys discussing modernism and its relevance and applications but the current paintings reveal a postmod approach to the familiar landscape.
Cinematic references are common although the phrases do not reflect their use so much as the effect. High Gain depicts the Hollywood sign in the hazy gloam of the coming Los Angeles evening. The title suggests a brilliant level of detail that simply cannot be found in this slice of LA. The accurate emotional quotient that fills the canvas is captured with intimate accuracy. This is the onset of night in Tinseltown through the eyes of a local. High Gain is not an exercise in visual fidelity, it is an experiential scene, organized by the layers of glazes that simultaneously define and obscure. It has more to do with Impressionism than true modernism if it weren’t for that skilled application of paint.
Perimeter also misleads the viewer that attempts to see the details from the outside looking in. The title is not so much a literal descriptor as it is an emotional stance, a moment of reflection- as in belly button gazing, not an exercise in light and interplay. This painting is a Formalist’s gold mine. The buildup of layers, diffused spatter and subtle wood grain bleeding through can be used to perpetuate the artist as craftsman of physical theatricality as painting but this little jewel is a soulful search for identity. The viewer is placed on the outside and the act of looking puts him in the position of a nonparticipant. This manipulation is done with a wink and a reference to “I know you know that I know…” Self-referential through and through this one is youngling.
Empire of Light is not an homage to Magritte as it is a celebration of Los Angeles’ built in theatricality. LA is the capital of artifice; surrealism is reality on our cultural island. Individuals reinvent themselves here, royalty has nothing to do with inherited titles, rather it’s the size of the contract or number of copies sold that bestows title. Appearance over substance rules the basin and the aura emanating from all that adoration is displayed on a panel wider than WideScreen. The image within the painting goes beyond naturalism in the way it skews at an angle like an opening shot to a movie. But it is LA just the same. Our LA with its stage-like arrangement complete with opening night kliegs.
There are other images by Thomas at the gallery but I always hone in on the nocturnes and night views as they speak about an alternate existence within our area. The business of entertainment through the production of theatrical myths is an economical reality but the concept of fame and familiarity, real and unreal, stunts or special effects also has a powerful presence here. This artist conveys these concepts in his compositions. Calling them naturalistic or romantic is too superficial; these pieces illustrate a multifaceted image of Los Angeles. They describe the multi-faceted town of make believe we inhabit.
