ArtScout visited with Thomas Deiniger in his massive studio located on Ace Street in Bristol, Rhode Island where we found him putting the finishing touches on a large scale three dimensional sculpture - a commission for the Smithsonian American Art Museum.
"...Deininger’s work ranges from realistic little landscape paintings to abstract pieces to massive sculptures." Deborah Allard, The Herald News, May 2011
Playing on the tradition of taxidermy and taxonomy I make Trophy fish from manmade materials and found objects. It is a way to observe both the natural world and properties of materials in our consumer culture that often mimic designs found in nature. I strive to find the potential in the mundane. These wall sculptures also play with perception treating western ideas of painting as sculpture and traditional approaches to sculpture as painting in the way I render from space. Three-dimensional forms are constructed as illusions. The recognizable object of the fish disassembled into layered abstract sculptures as the viewer approaches the pieces for closer inspection. This could act as a metaphor for the slippery nature of reality and perception and the fragility of the environment that is threatened with human activities. In this relationship to the work the medium is very much the message. – Thomas Deininger
"To know the things we surround ourselves with is to truly know ourselves. Things describe other things, not themselves" -George Oppen
In our culture of image overload we are constantly bombarded with various kinds of images from all kinds of media outlets. It forces us to break down what we are seeing and categorize it so we can better understand the information and translate it into a meaningful, coherent narrative. I collected thousands of images from any means possible (mostly the internet) and layered these images in a way that at first seems abstract because of how the images compete for dominance in this layering process. Upon closer examination single images emerge and play with our associations and our relationship to what we are seeing. The result is a surreal experience of seeing and not seeing, focusing and refocusing while the picture stays the same. What does change is our relationship with how we see the images. I see these works as a Haiku-like exercise in balance; image, meaning form and content. The magic is in how they interact and dissolve into one another. To every story there belongs another. – Thomas Deininger, on ink jet print collages on archival paper