Sam Thomas

The Haywain at Spring 1883

1 Aug – 4 Aug 2018

INSTALLATION VIEW, The Haywain at Spring 1883
INSTALLATION VIEW, The Haywain at Spring 1883
INSTALLATION VIEW, The Haywain at Spring 1883
INSTALLATION VIEW, The Haywain at Spring 1883
Sam Thomas, Liquid Amber #1, 2018
oil, 450 × 350mm
Sam Thomas, Liquid Amber #2, 2018
oil, 450 × 350mm
Sam Thomas, Liquid Amber #3, 2018
oil, 450 × 350mm
Sam Thomas, Liquid Amber #4, 2018
oil, 450 × 350mm
Sam Thomas, Liquid Amber #5, 2018
oil, 450 × 350mm
Sam Thomas, Liquid Amber #6, 2018
oil, 450 × 350mm
Sam Thomas, Liquid Amber #7, 2018
oil, 450 × 350mm
Sam Thomas, Liquid Amber #8, 2018
oil, 450 × 350mm
Sam Thomas, Liquid Amber #9, 2018
oil, 450 × 350mm
Sam Thomas, Gherkin #1, 2018
oil, 450 × 350mm
Sam Thomas, Gherkin #2, 2018
oil, 450 × 350mm
Sam Thomas, Gherkin #3, 2018
oil, 450 × 350mm
Sam Thomas, Frank & Steinlager #1, 2018
oil, 440 × 340mm
Sam Thomas, Frank & Steinlager #2, 2018
oil, 430 × 330mm

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Sam Thomas

The Haywain at Spring 1883

1 Aug – 4 Aug 2018

The title of Sam Thomas’ The Haywain refers to Hieronymus Bosch’s 1516 painting of the same which depicts a group of sinners, including clergy, frantically scrambling to grab hay from the titular wagon, in a metaphor for the folly of attachment to worldly things. In a contemporary context, Thomas’ work activates timely issues around our increasing abandonment of the physical world for virtual spaces and intangible interactions—making us, in Bosch’s terms, more godly and less worldly; however, as Thomas’ works remind us, the physical world, like a pile of hay bales, has a way of making itself known.