David Thomas’ art transcends colour, size and movement
David Thomas has been drawn to fine arts for as long as he can remember. There was never any doubt or reason to devise a backup plan; he simply knew that one day, he was going to be an artist.
Thomas’ mentality led him to pursue a career as a commercial mural painter before shifting focus to his studio work which he brings to life in his home garage.
Seasonal changes and world events heavily influence Thomas’ thematic and aesthetic expressions. Colder seasons lead the way for solitude, often resulting in muted, subtle colouring. Meanwhile, spring invites floral concepts and exhibition-style artwork on the side of a building. Though he enjoys the sense of community that comes with painting in public, Thomas feels more drawn to his work in his home studio. Surprisingly, his smaller scale work is often the most time-consuming and exhausting.
For years, Thomas’ studio paintings were muted in colour with little saturation in his palette. He wouldn’t allow colours whose hues hadn’t been dampened in his work. It wasn’t until discovering spray paint, a medium that refuses the artist’s ability to numb the vibrancy, that he started embracing electric colours on his canvases. Now, lively pinks, yellows and other vivid colours play a monumental role in bringing Thomas’ work to life, evoking emotion and inviting viewers to pause, feel, and reflect.
Throughout all the changes in Thomas’ artwork, one steadfast thread remains: the familiar faces of his children throughout his abstract realism paintings and large-scale murals. “As I started having children, it just felt natural that they would become the muse for my art,” Thomas says, adding that he’s practically documented their growth in studio paintings and murals across the province. Though the photos serve as a starting point, the artwork comes to life when the realist figures collide with the unpredictability of abstraction.
His children have become accustomed to being featured in galleries and cityscapes, and their general reaction has become one of indifference. They’ve been posing for paintings their whole lives.
“I never wanted these paintings to feel sentimental, but more as a starting point to build on. My current studio practice is becoming less reliant on the figure, as intuition, emotion, and colour take a more prominent place in my work.”
Humble and grounded, Thomas doesn’t always see his work for the accomplishment that it is. His modesty comes as naturally as his love for creating art. In one breath, he’ll knock his past work and express sincere admiration for other artists, including friend and mentor Justin Ogilvie, whose work he highly applauds.
“Being recognized isn’t something I spend time thinking about.”
Still, Thomas doesn’t believe in regrets. He remains grateful that he can support his family by doing what he loves and becoming the person he always knew he would become.
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