Bill Thompson

Bill Thompson - Leprechaun

Technique: Acrylic urethane on polyurethane block

Artist Biography: The work of Bill Thompson (Ipswich, USA, 1957) is a process of constant inquiry into the study and application of color in different formats and dimensions, mainly in the field of sculpture. His artistic proposal is based on the idea of monochrome. In the artist's own words, the monochrome represents, at the same time, a conclusion and a starting point before which he recognizes to end up disarmed, but inspired at the same time, by its purity and infinite possibilities. His language, clearly indebted to minimalism, is articulated from polyurethane objects with a life of their own, claiming colors that are sometimes camouflaged in an apparently chaotic and colorless world. These sculptures configure concave and convex volumes that draw satin surfaces charged with luminosity. His work is part of museums and public collections such as the Butler Institute of American Art (Youngstown, USA), de Cordova Sculpture Park and Museum (Lincoln, USA), Fogg Art Museum (Cambridge, USA), Hyundai Corporation (Hyundai Corporation, USA), and the Fogg Art Museum (Cambridge, USA). USA), Hyundai Corporation (Seoul, Korea), MIT List Visual Art Center (Cambridge, USA), Microsoft Art Collection (Washington, USA), Museum of Fine Arts (Boston, USA), New York Public Library (New York, USA) or The Rose Art Museum (Waltham, USA).

 

The work of Bill Thompson (Ipswich, USA, 1957) is based on the idea of the monochrome. In the artist's own words, the monochrome represents, at the same time, a conclusion and a starting point before which he admits to end up disarmed, but inspired at the same time, by its purity and infinite possibilities. His language, clearly indebted to minimalism, is articulated mainly from polyurethane objects with a life of their own that claim colors that are found, sometimes camouflaged, in an apparently chaotic and discolored world. Thus, the artistic proposal of this American creator seeks, above all, aesthetic pleasure. A painting/object, proportioned and brilliant, whose form is familiar but, at the same time, extremely difficult to describe. These forms configure concave and convex volumes that draw satin surfaces charged with luminosity. Surfaces that welcome the reflections that surround them and in which the spectator is bewitched by the almost hypnotic power for which they were conceived: the contemplation of beauty in its purest and most original state.