Image 1 of 1
Image 1 of 1
Image 1 of 1
Image 1 of 1
Digital
Media Dimensions: 105 x 140 cm
Image Dimensions: 105 x 140 cm
Limited edition of 5 + 2 APs
Split your payment over 10 months with OwnArt 0% APR. Your monthly payment for this artwork would be £1,050.00.
and studied at Bath Academy of Art from 1979 to 1982. Hamshaw Thomas gained critical success in the 1990s for large scale sculptural Installations that used found plastic flowers to create herbariums that questioned the nature of Simulacra in relation to memory and loss. His large digital photographic prints continue to play with how representation is constructed through historical associations within the Decorative arts.""Hugh Hamshaw Thomas’ work depicts intimate picturesque scenes familiar to the decorative arts, trees meeting waters edge of pond or river quoting the Arcadian, idealised representations of historical contexts. In so doing pictorial conventions of colour schema and style are exposed as the signifiers of meaning. There is a subtle negotiation of how experience, memory, nostalgia and cliche are embedded within the pictorial conventions of what Landscape depiction is so often associated. There is an imbued sense of dwelling with nature as the mirror. Nature and our gaze on it as the mediation as to the viewers place in what we experience and how we represent it."
Digital
Media Dimensions: 105 x 140 cm
Image Dimensions: 105 x 140 cm
Limited edition of 5 + 2 APs
Split your payment over 10 months with OwnArt 0% APR. Your monthly payment for this artwork would be £1,050.00.
and studied at Bath Academy of Art from 1979 to 1982. Hamshaw Thomas gained critical success in the 1990s for large scale sculptural Installations that used found plastic flowers to create herbariums that questioned the nature of Simulacra in relation to memory and loss. His large digital photographic prints continue to play with how representation is constructed through historical associations within the Decorative arts.""Hugh Hamshaw Thomas’ work depicts intimate picturesque scenes familiar to the decorative arts, trees meeting waters edge of pond or river quoting the Arcadian, idealised representations of historical contexts. In so doing pictorial conventions of colour schema and style are exposed as the signifiers of meaning. There is a subtle negotiation of how experience, memory, nostalgia and cliche are embedded within the pictorial conventions of what Landscape depiction is so often associated. There is an imbued sense of dwelling with nature as the mirror. Nature and our gaze on it as the mediation as to the viewers place in what we experience and how we represent it."
