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Thom Heileson

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I attempt in my work to create compositions that evoke a liminal sense of scenes as states: a visceral sense of place, atmosphere, psychological tone, and experience through time. I wish to transform the raw 'materials' I collect—photographic or videographic imagery, recorded sound—by taking them away from the literal/descriptive, using them to speak like a vocal tone that connotes through emotive timbres rather than through words. These scenes often border on a threshold of recognizability, analogous to a threshold of consciousness: the edge dividing one's controlled, defined mental state from a state of sleep, dreams, or evasive memory; spaces between.
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The working process for much of my two-dimensional work is focused on texture and tone. Photographs (often incorporating chance effects from the use of antiquated cameras) provide foundational structures upon which to build interweaving textures: the photographs are layered and manipulated in the digital realm, areas in the two-dimensional space and stratified (layer) space are transformed, and
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drawn imagery is added. - Formally, this process is a means to a perpetual cohesion and fracture in the image: lines and textures reply to, and interact with, forms in the photographed elements; depth is created then shattered, as the drawn structure flattens the picture plane. The viewer is invited in and pushed back, denied grasp, eluded as if by a faint trace of memory. In my most recent two-dimensional image work, I am using this formal and tonal vocabulary as a foundation, experimenting with more complex collage/ordering arrangements of imagery, in part as an attempt to incorporate my interests and experience in contemporary media/information models such as web sites and program interfaces. - I have worked in video installation and short films as a means of expanding on possibilities of formal experimentation, adding sound, sense of time, peripheral vision and environmental immersion to the viewer’s experience. The two-channel video installation Scend is a ‘perpetual presentation’ and an alternate take on a landscape. An experiment in expressing the particular experience of travel by automobile through the American desert, the piece uses video imagery of travel, jarring edits, and manipulated sound to transpose this experience it into an
abstracted form that resides on the threshold of resolution and dissolution: motion that hovers near description and cohesion but never quite settles on a specific reading.
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IMAGE DESCRIPTION : 1. - 101 Sunsets/101 Love Songs, (This image: collage of video stills) Approx. 48 x 36 in. Video projection, picture frame, stereo audio, 2004. 2. - Scend(This image: installation view), Approx. 200 x 80 50 in. Two channel video projection, stereo audio, 2002. 3. - In trans, (This image: video still). Approx. 200 x 80 50 in. Two channel video projection, stereo audio, 2002. 4. - _site1, 20 x 10 in. C-print, 2003. 5. - _site2, 20 x 10 in. C-print, 2003. 6. - Scopics: Hg, 14 x 8.5 in. Dye sublimation print, 1998.
Thom Heileson
8105 34th Ave SW
98126
Seattle, WA
Washington
North America

T: 1 206 216 0924
F:
M:
w: http://thomheileson.com




Web Links
thomheileson.com
soilart.org
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