© 2016 Thomas Wharton

I capture and document images through processes of abstract painting. I have no definite vision for what the outcome of a project might be; I choose to move within a space of unknowing, seeking a conceptual darkness where concrete images are discovered temporarily and are lost again. Familiarity is forfeited by an intentional disorientation.

Even when prepared, there is an inadequacy to seeing in the dark. From this position I move intuitively, with an attitude toward painting that is broad and inclusive. A vision of what exists in this space isn’t made clear until I back up into it, trip over it, or am attacked by it. These anomalies - hiccups within the space of image making - are what I set out to discover, observe, and document. They exist as forms that defy conventions of gravity, space, material, narrative, or any combination of these events within a picture plane.

My paintings are an amalgamation of processes stretching from pre-Raphaelite applications of material to the editing techniques of Photoshop and digital printmaking. Paint is slapped, rendered and glazed, photographed, printed, pasted, and drawn onto surfaces. In many projects surfaces are built then abandoned and built again. Residues of failed imagery are often cannibalized and debuted in other paintings as collaged photographs, cutouts of other canvases, and printouts of sketched computer renderings.

Process, still life, figuration, landscape, and the stylization of art throughout history are components of the conceptual field guide I use to discover images. Placed in direct dialogue with one another none are privileged. Through these processes I allow a painting and the forms within them to resonate and discover one another through the tumultuousness of their own reformation.