Bill Thompson

Bill Thompson - Elf

Técnica: Acrylic urethane on polyurethane block

Biografía del Artista: The work of Bill Thompson (Ipswich, USA, 1957) configures a process of constant inquiry around the study and application of color in different formats and dimensions, mainly in the field of sculpture. His artistic approach is based on the idea of ​​monochrome. In the artist's own words, monochrome represents both a conclusion and a starting point, which he admits leaves him disarmed, but inspired at the same time by its purity and infinite possibilities. His language, clearly indebted to minimalism, is articulated around polyurethane objects with a life of their own that demand colours that are sometimes camouflaged in an apparently chaotic and colourless world. These sculptures form 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 (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 monochromatic. In the artist's own words, the monochromatic represents both a conclusion and a starting point, which he admits leaves him disarmed, but inspired at the same time by its purity and infinite possibilities. His language, clearly indebted to minimalism, is mainly articulated around polyurethane objects with a life of their own that call for colours that are found, sometimes camouflaged, in an apparently chaotic and colourless world. Thus, the artistic proposal of this American creator seeks, above all, aesthetic pleasure. A well-proportioned and brilliant painting/object whose shape is familiar but, at the same time, extremely difficult to describe. These shapes 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 enchanted by the almost hypnotic power for which they were conceived: the contemplation of beauty in its purest and most original state.