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Tom Martin

Tom Martin

Tom Martin

Mostly, the compositions I create are formed out of ideas, scenarios and imagery from my everyday life. I have a strong interest in health and well being, so these subjects come through in my work. Whether that be a larger than life chrome plated piece of steel, or the tempting arrangement of sweets that I’m not supposed to eat. Often these things are overlooked as we pass them by, but I aim to find beauty within these banal items. I pack in intricate reflections and abstracted bands of colour, enabling the viewer to see closer than they would normally care to do.

Though at first glance my work may appear photographic, replicating one single photograph into paint is not my concern or aim. I make use of multiple images, drawing, and modelling with the aid of modern technologies to go beyond that of a single photograph. The paintings I make are intended to question reality and how we perceive it. Often I present the viewer with a situation in paint, which cannot physically exist in this world, a Hyperreality in its self. Juxtapositions between things such as figure and still life in my compositions helps to suggest a surreal sense of otherworldliness. My aim in that case is to make the viewer want to believe what they have in front of them. I go about this by manipulating scale, colour and human capabilities.

Mostly the colour the human eye appreciates in my work is made optically. Working with an airbrush most of the time makes this possible. Sometimes dot patterns based upon the CMYK print process find their way into parts of my work further pushing the boundaries of reality and how the eye perceives colour.

By nature I am a realist, that’s how I see things. So painting in a realistic manner is something which seems natural to me. I want the viewer to feel they can enter the painting and move around it. In parts I aim for the subject to appear as though it projects further than the plane of the canvas, to have a presence, putting the viewer somewhere in the physical experience of the painting.

Tom Martin, May 2013.

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