Eliza Thomas

click images for detail

<b>Emerging</b>, 2017<br>Acrylic, pencil and ink on paper, 55x40, 61x46 inches framed<br>$5600
Emerging

<b>Untitled Magenta</b>, 2017<br>pencil, acrylic resin and watercolor on paper, 39x72 inches unframed<br>$4000
Untitled Magenta

<b>Whole Again</b>, 2016<br>Ink on paper, 45x45 inches<br><i>sold</i>
Whole Again

<b>Drop In Drop Away</b>, 2015<br>Ink on paper, 45x45 image, 50x50 inches framed<br>$5200
Drop In Drop Away

<b>Surrender</b>, 2014<br>Pencil, gouache, pastel and ink on paper, 40x37 inches, 47x44 inches framed<br>$3800
Surrender

<b>Light on Water XXVII</b>, 2012<br>Watercolor and pencil on paper, 9x11 inches<br>$750
Light on Water XXVII

<b>Light on Water XXVIII</b>, 2012<br>Watercolor and pencil on paper, 9x12 inches<br>$750
Light on Water XXVIII

<b>Light on Water LV</b>, 2012<br>Watercolor pencil on clayboard, 8x12 inches each, 46x17.5 inches framed<br>$2700
Light on Water LV

<b>Light on Water LVI</b>, 2012<br>Watercolor on paper, 18x24 inches, 23x29 inches framed<br>$1500
Light on Water LVI

<b>Light on Water 48</b><br>Gouache, graphite and pencil on paper, 11x8.5 inches<br>$750
Light on Water 48

<b>Light on Water LX</b>, 2012<br>Watercolor pencil on paper, 10.5x8.5 inches, 13x15 inches framed<br>$750
Light on Water LX

<b>Cracking</b><br>Ink on watercolor paper, 30x22 inches<br>$1600
Cracking

<b>Zinnia</b><br>Ink on paper, 30x22 inches, 36x28 inches framed<br>$1600
Zinnia

<b>Reflection</b>, 2010<br>Ink, gouache, acrylic, rice paper on paper, 30x22 image, 36x28 inches framed<br>$1600
Reflection

<b>Red Clover</b><br>ink on paper, 23 x 14 inches<br>$1200
Red Clover

Read Luke Quinton's review of the 2012 show here.

“When my hand is paraphrasing my feelings, I am very aware if there is any disagreement between the two of us: between my hand and that indefinable part of me that seems subjugated to it. The hand is but an extension of sensitivity and intelligence. The more it is supple, the more it is obedient.” — Henri Matisse, Jazz (1947)

I grew up as a dancer and visual artist. I have always been interested in dancing lines in space--graceful lines, emotional lines, poignant lines. Add to that my love for the written word, nurtured through years of formal study. My text paintings begin with a seed of awareness or understanding found in words and phrases that trigger memories and feelings, and that contain an aspect of the eternal, or pure consciousness. The verses that draw me have a musicality, lyricism, fluidity, luminosity, pertinence; they are from various sources, anywhere from the Tao Te Ching to ancient Sufi poetry, from a lovers discourse to hauntingly beautiful engraved epitaphs. (Much of my family lived in New Orleans, and my grandparents backyard was the Metairie Cemetery, where we spent many magical hours playing in and amongst the mausoleums.)

Once the instrument in my hand touches the paper, it is not lifted until the next line. Over and over, in layer upon layer, the words are repeated, so that the act of making the painting becomes a meditation, a chance for my hand to be out of the way when “paraphrasing my feelings” about whatever is being written. In terms of color, the words just tell me what they want.

All the phrases are taken from “real” sources, but it is not important that they are legible.The viewers can deduce and discover what they will, they can imbibe and imbue what they will. The idea is to get lost in the lines.

In the making of the paintings, words and awareness become a dance through the instrument of line. My hand becomes “an extension of sensitivity”.

web site: www.elizakthomas.com

Eliza Thomas