Tom Paiement’s “Elegance + Chaos”
“In July of last year, I started a series of portraits in my studio in Bath. I used a stack of etching papers brought back from the University of Iowa print shop years ago when I was a grad student there. The paper is 30 inches by 22 inches. 29 friends and acquaintances sat for me in the studio, in the same straight backed, hard, wood chair. With each individual, it was an intimate and deeply personal experience. Portraiture is always very challenging and engaging, the balance being to not be too literal yet maintain the ‘essence’ of the sitter along with the ‘freedom’ of the mark. I used pencil, oil pastel, collage, ink, and oil wash. In each of the drawings, a piece of the chair shows and is an integral, if minor, part of the series.
I stopped drawing the portraits in January when I moved my studio from Bath back to my home studio in Woolwich and started to concentrate on imagery for this show. Since the chair was the one constant in the work of the last 6 months, I decided to use it as a focal point. I thought I might still have a ‘sitter’ in the chair but more abstract and conceptual, a figure that spoke more universally and not so specifically to the viewer. The paintings are on wood painted with acrylic, ink, collage and range in size from 12x12 to 16x16. I began with two, small 12x12 loosely abstract paintings with just the empty chair. They stayed on my work wall in the studio while I started a few more paintings puzzling out where to go with this idea. Then the Coronavirus overwhelmed everything, and the empty chairs in those two paintings became symbols for the mounting number of deaths, the social distancing and the isolation the virus imposed. Early in the virus, I began keeping daily track of the national numbers of those infected and dead, incorporating those mounting and relentless tolls into the work. I use different font sizes to accent the uneven distribution of the virus cases and run the numbers together so they stream without pause. The abstract chair became more precise and representational, sometimes graphic, calling attention to its emptiness and the blunt fact that no one is sitting there.
There is a stained glass window in my house from the St. Charles church in Brunswick that was demolished in 1972. The window was given to my family and then to me. I began to use its shape and colors in a few of the paintings, which adds an interesting spiritual connection to the series and opens up questions the coronavirus pushes us to ask. The stark contrast between drawing portraits and quarantine has been both unsettling and motivating. The series continues to evolve as we move in response to the pandemic and figure out how to draw a future for ourselves.”
~ Tom Paiement
Tom Paiement received his B.S. in Mechanical Engineering from the University of Maine. After working in the aerospace industry for years, he decided to explore the creative process offering him an aesthetic outlet missing from his mathematical and scientific work. After earning his M.F.A. in Printmaking at the University of Iowa in 1985 under the tutelage of Mauricio Lasansky, Tom taught at Hamline University in St. Paul. Tom returned to Maine to paint full time and for 30 years he has exhibited extensively. His work is represented in private and public collections.
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Featuring Richard Brown Lethem’s “Jointings” in the side gallery
“This selected group of assembly pieces I call “Jointings” started in the 60’s when I moved my family into a rundown Brooklyn row house. Carpentry skills become a necessity and, soon, my livelihood for a number of years. As a result, the tools and methods of joining wood to hardware and paint in a playful manner became a natural and spontaneous way of drawing with the materials at hand and making toys with my three kids.
Making toys was always a secret ambition
In the 90's, with my children grown, I become more interested in assemblage as an art form, which punctuated the flatness and darker narratives of the paintings I was doing at the time.
Objects when joined, subverted and transposed their practical associations with the poetry of “thingness” or the play on words and puns coming from life experiences.
During the 70’s, I taught home repair and children’s woodworking classes in a Brooklyn settlement house which occasioned some of the pieces. Others came about after my move to Maine in the 90’s, up to the most recent ones in my Brunswick studio.
The joy of fitting things together, like that of solving a puzzle, continues to fascinate.”
~ Brown Lethem
