Tuesday, May 31, 2016

Saturday, November 24, 2012

TOM STANLEY: Glossary – Untitled Paintings




















For a PREVIEW of Glossary: Untitled Paintings, scroll down.
For an ESSAY for Glossary: Untitled Paintings, CLICK HERE.
For installation shots of the exhibition CLICK HERE.
Untitled, 2012, acrylic on canvas, 47 x 47 in.,$4,000 



Untitled, 2012, acrylic on canvas, 47 x 47 in., $4,000

Untitled, 2012, acrylic on canvas, 47 x 47 in., $4,000

Untitled, 2012, acrylic on canvas, 47 x 47 in., $4,000

Untitled, 2012, acrylic on canvas, 47 x 47 in.,$4,000 


Untitled, 2012, acrylic on canvas, 47 x 47 in., $4,000

Untitled, 2012, acrylic on canvas, 47 x 98 in.,

For ADDITIONAL PAINTINGS by Tom Stanley,
CLICK HERE.

Saturday, February 18, 2012

CONTEMPORARY CAROLINA ABSTRACTION II


To view work by the artists in the exhibition click on their names:

Michael Brodeur
Anna Redwine
Tom Stanley
H. Brown Thornton
Enid Williams
Paul Yanko

For installation shots CLICK HERE

Thursday, February 16, 2012

Big Lots Paintings

Big Lots Paintings I, 2011, acrylic on canvas
12 x 12 in., $400

Big Lots Paintings II, 2011, acrylic on canvas
12 x 12 in., $400

Big Lots Paintings III, 2011, acrylic on canvas
12 x 12 in., $400


Big Lots Paintings V, 2011, acrylic on canvas
12 x 12 in., $400

Big Lots Paintings VI, 2011, acrylic on canvas
12 x 12 in., $400

Big Lots Paintings VII, 2011, acrylic on canvas
12 x 12 in., $400

Big Lots Paintings X, 2011, acrylic on canvas
12 x 12 in., $400

Big Lots Paintings XI, 2011, acrylic on canvas
12 x 12 in., $400

Big Lots Paintings XII, 2011, acrylic on canvas
12 x 12 in., $400

Big Lots Paintings XIII, 2011, acrylic on canvas
12 x 12 in., $400

Big Lots Paintings XIV, 2011, acrylic on canvas
12 x 12 in., $400

Big Lots Paintings XV, 2011, acrylic on canvas
12 x 12 in., $400

Big Lots Paintings VIII, 2011, acrylic on canvas
12 x 12 in., $400

Big Lots Paintings IX, 2011, acrylic on canvas
12 x 12 in., $400

Monday, November 9, 2009

Tom Stanley at the computer at if ART Gallery

Below, see Tom Stanley being busy on the computer at if ART Gallery, Nov. 5, 2009.

video

Thursday, October 1, 2009

DISCOVERING WHAT'S NEXT – essay by Wim Roefs


Tom Stanley: Discovering What’s Next                                
By Wim Roefs

Tom Stanley’s habitual recycling of imagery has given his rather wide-ranging body of work of the past two decades considerable consistency, making the paintings easily identifiable. Stanley (b. 1950) builds on visual elements of previous work to create new free-floating narratives. In the seven paintings in the current exhibition, the Rock Hill, S.C., artist is taking this process a step further. While he’s not exactly taking inventory of his visual language so far, the Winthrop University art department chair is presenting somewhat of a glossary.
            “In the past I have done bodies of work that I think are about my grandfather who I never met, or about New Orleans and floating on the river, or listening to Rahsaan Roland Kirk or Dave Brubeck and Paul Desmond, or about my mother's boarding house on Brumley Street in Concord, N.C., or traveling en route to Hamlet - an imaginary place of improvisation and creativity. Here I am just painting. If those elements of memory enter the narrative of my hand and mind, fine, but if so, it is not totally a conscious decision.”
            It is deliberate only to the extent that these images, or related images, are what I know. I do try to approach them in new ways so they have the opportunity to say something new on the surface of the canvas.” But what are the paintings about? “Lord have mercy. It is about discovering what is next.”
            The work is about Stanley doing the work, he says, and his personal history is reflected on the canvas. “It’s magical to the extent that I can work. Working is magical.”
            As in much of Stanley’s work, the human presence is in his hard-edge or shaky shapes and objects rather than through the actual presence of human forms. The latter were prominent in his earlier work as well as in his more recent Big Lots series, but they are absent in many of his paintings, which often rely on mechanical drawing. “I was a mechanical drawing nerd,” he says of his youth, working in his dad’s machine shop, filing blueprints. “I also think that I am producing images that are man-made, or human-made.” His interest in Edmund Lewandowski, a Precisionist painter and former Winthrop art department head, has to do with Lewandowski’s interest in the humanity of making things.
            “If anything, I continue to file blueprints, but I am old enough now to not rely on the myth that I had created in my free-floating narratives of memory and the past. I am trying to rely on my ability to work. Time is a very precious commodity. When I can work, I am also paying homage to time, to that time, to my time.  It is about being here now. It is about what I have, the images or glossary, to make my paintings.”