Tom Spleth/Painting

The Amalgamation Project



The Bridge

The Bridge


2012-2015
acrylic on panel
25 X 37 inches




Blue Bar over Pink Grid

Blue Bar over Pink Grid


2012-2015
acrylic and watercolor on paper mounted on panel
23 X 38 inches




Hummingbird at the Roan over Shirakawa-go in the Rain

Hummingbird at the Roan over Shirakawa-go in the Rain


2000-2015
ink and brush on paper, watercolor, aluminum roofing paint, acrylic on panel
28 X 44 inches




Cinnamon Cylinders and Dry Point over Deep Blue Bars

Cinnamon Cylinders and Dry Point over Deep Blue Bars


2012-2015
acrylic, watercolor, ink on panel
24 X 31 inches




Klingspor Yellow with Pink Bar and Equatorial Landscape

Klingspor Yellow with Pink Bar and Equatorial Landscape


2012-2015
acrylic, watercolor, sandpaper on panel
24 X 24 inches




Shirakawa-go in the Rain and Sumi Ink

Shirakawa-go in the Rain and Sumi Ink


2012-2015
acrylic, ink on paper on panel
32 X 12 inches





Shirakawa-go in the Rain and Black Agression

Shirakawa-go in the Rain and Black Agression


2012-2015
acrylic, watercolor on panel
35 X 12 inches




Black Square on Red

Black Square on Red


2014-2015
acrylic, watercolor on panel
12 X 9.5 inches




The paintings above

are from my Amalgamation Project wherein I cut down and edit works from my own past and construct images using seemingly disparate and unrelated parts. When compiled, compared, contrasted, and constructed, each painting offers an amalgamation of the evidence of a lifetime spent painting and drawing. I extract the prints, drawings, paintings, watercolors, acrylics, or oils, from portfolios that I compiled as recently as the last few days, from portfolios stored and forgotten forty years ago, and from portfolios from every time in between. These bits and pieces never have a chance to speak as intimately as they do when I introduce them to one another within the context of a shared frame. The thin black lines that separates these elements represent more than a convenient separation but, rather, a leap across time, and now, the elements are in a permanent dialog.


The heavy black line that surrounds each painting
is actually a simple frame which is
an integral part of the work.
The dimensions include the frame.


contact:

thomaspleth@gmail.com


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