In most cases it will locate these tools automatically for you by looking for specific executables in each directory in the PATH environment variable. I will keep coming back until I have exhausted all the ways I can use them.Asciidoctor Diagram depends on external tools to generates images. Obviously, I have more influences, but those are my three. I’m always talking about El Greco and Bob and William Blake. People want context, a way to place my work, and it’s meaningful to have someone who went before me. I’m remixing and reimagining and reinventing, and just painting what I want to see and feel, just as he did.
But I’m also thinking about the freedom of creating my own version of those spaces, bursting through what’s been done before. In my everyday existence, I feel the spaces where people like me haven’t been seen. There’s a lot of imagination to his work, and I too am not interested in things seeming real, but rather seeming unreal. Certainly there’s the sense of color, the flattening of three-dimensional aspects of the figure, overlapping of bodies, and subtraction of detail for the sake of composition. You can absorb someone’s influence and it leaks out in different ways. Thompson feels like a part of a lineage for me. The leash is getting shorter for folks to be unfamiliar. As we continue to redefine how canonical systems inform us and re-establish the parameters for how we identify important projects, he’s going to continue to play a more substantive role. I’ve been informed by his work from multiple perspectives. There are a lot of opportunities to explore what and how those spaces inform our understanding of the landscape.Ī lot of my conversations about him start with me bringing up Bob’s work and the person opposite me expressing that they’re unfamiliar.
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The history that we have to negotiate around that subject, particularly in this country, is quite loaded, because of our history of working the land as “property” providing free labor. I became mesmerized with his project, how it resonated, its allegorical nature, its lack of dependence on one particular philosophy to conjure a complicated telling of the world in which we live.īob’s work deals with the relationship to landscape and the complexity around how a lot of Black people think about the outdoors. I became aware of Thompson’s work 20-plus years ago.
Inspiration comes in other ways in my case, like what I described about the dream, the netherworld. I don’t feel like I want to get that close that I have to quote him. So even though it’s based on a myth, with a naked figure riding a bull, in the background, there’s a figure that almost looks like a spy from the contemporary world. “Europa” is from 1958, when he was making pictures with shadowy, hatted, lurking figures. Sometimes you can think like you’re in an Arcadia, but others, almost Hell. He’s not dealing in realism but a type of expressionism. Maybe dream space sounds a bit trite, but certain artists make works that operate so that you feel like they show a netherworld, but one that is closely connected to our reality. The inspiration, for me, comes from where he dares to go and the space that he depicts. It definitely feels like it’s coming out of a dream. It’s an unusual one, called “Europa,” based on the Greek myth. I’ve been looking at it almost every day since, which has been a great source of pleasure and of intrigue because of its freeness and spirit. That’s when I started spending a lot of time looking at his work, and I ended up buying one. Hilton Als and I curated a show, “Self-Consciousness,” at VeneKlasen/Werner Gallery in Berlin in 2010, for which we borrowed two works by Thompson.
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