![\"\"](\"https:\/\/www.artoronto.ca\/wp-content\/uploads\/2023\/11\/rsz_thomson-gallery-view-ne_1.jpg\")
<\/a><\/figure>\n<\/div>\n\n\nInstallation view of Tracy Thomson, Hope Springs Eternal <\/p>\n\n\n\n
Interior and exterior co-mingle here, as though time has eroded the barriers of man-made vs nature made, into one compatible environment. Organic life and beings are regenerated into something \u201cother\u201d. In \u201cOf Sand And Stone\u201d, new amalgamated life forms and mosses sprout throughout the arid landscape, seeping into the dry mud wall. A figure lies upon a beach blanket with transistor radio and a nice cool drink, again traversing time with a welcome injection of pop culture.<\/p>\n\n\n\n
\u201cIf You See The Pink Tree (You\u2019ve Gone Too Far)\u201d is another good example of her sense of irony. This piece relates to driving too far and missing the next left turn. You\u2019ve gone so far in fact; you find yourself in a different realm altogether. Where floating tree stumps and signs of life fight to reassemble and once again tether themselves to the earth. A planted flag reads \u201cPoint Of No Return\u201d, a clear message of Thomson\u2019s fear of our negligence in protecting our planet from demise.<\/p>\n\n\n
<\/a><\/figure>\n<\/div>\n\n\n(L-R) Tracy Thomson, Of Sand And Stone, mixed media on wood panel, 60 x 60 inches & If You See The Pink Tree (You\u2019ve Gone Too Far), mixed media on wood panel, 48 x 48 inches<\/p>\n\n\n\n
The tree trunk from \u201cOf Sand And Stone\u201d steps out of the two dimensional composition and becomes three dimensional in \u201cFamily Tree.\u201d It is a one-of-a-kind family tree, really just a trunk covered by the mainly abstract motifs of Thomson\u2019s paintings. Very strange indeed, as there are no branches coming out of the trunk, only fabric tubes inserted into the cylinder\u2019s opening at the top; a true embodiment of Thomson\u2019s fear of degeneration.<\/p>\n\n\n
<\/a><\/figure>\n<\/div>\n\n\nTracy Thomson, Family Tree, mixed media on construction tube, 96 x 13 inches<\/p>\n\n\n\n
Thomson wishes for a world into which we can adapt and move forward safely and thoughtfully into the future. As she says: \u201cWe\u2019re always hopeful, right? No matter what happens, we humans can always find hope hiding somewhere and it is this hope that creates change, so that we can be prepared for what may transpire in the future.\u201d<\/p>\n\n\n
<\/a><\/figure>\n<\/div>\n\n\n(L-R) Tracy Thomson, They Dreamt Of Trees and Future Projections, both mixed media on wood panel, 12 x 12 inches<\/p>\n\n\n\n
Her process is one of happenstance. Images appear of their own volition and when they do, the element of surprise is a driving force. She states that \u201cwhatever appears is meant to be there for whatever reason and I’m careful not to edit these things out, even if they don\u2019t quite make sense at the time, that\u2019s like life.\u201d She considers her involvement in the creative process, similar to \u201cjust another brush or tool, I\u2019m there to facilitate the work, not control it.” <\/p>\n\n\n\n
For example, for \u201cBone Of My Bone, Flesh Of My Flesh\u201d, she had no intention of creating a portrait and when it began taking shape, she identified it as her great- great Uncle, Tom Thomson. As she explains, \u201cI don\u2019t pre-plan these things but when they happen, they\u2019re a bit of magic!”<\/p>\n\n\n
<\/a><\/figure>\n<\/div>\n\n\nTracy Thomson, Bone Of My Bone, Flesh Of My Flesh, mixed media on wood panel, 12 x 12 inches<\/p>\n\n\n\n
\u201cWhite Curtain\u201d is an example of her future world constructs. She told me, \u201cThis is like something in the desert, and these (containers) are representative of energy stations where we can plug ourselves in\u2026These thoughts of the future can at times be unsettling. I find humour combats the unease.\u201d In this piece she keeps the traditional landscape of a desert, however, it is a reconstructed futuristic view which is up for interpretation, so the viewer can decide what to see in the future.<\/p>\n\n\n
<\/a><\/figure>\n<\/div>\n\n\nTracy Thomson, White Curtain, mixed media on wood panel, 12 x 12 inches<\/p>\n\n\n\n
Also in this show, are 5 white orchids growing out of five white ceramic heads. Placed all in a line, like sentinels, standing guard for peace. The white Orchid symbolizes hope and innocence. Called \u201cTalking Heads\u201d for the word headlines attached to the mouth of each head.<\/p>\n\n\n
<\/a><\/figure>\n<\/div>\n\n\nTracy Thomson, Talking Heads (L-R) Everything Is Transient, Fragments, Acts of God, Opening Soon and Long Dead Artists, each hand-painted ceramic pot, 20 x 6 inches<\/p>\n\n\n\n
Thomson summarizes her artist talk with, \u201cI am so consumed by all the natural disasters everywhere, all the eco-stuff that is so prevalent right now. That really does scare me.<\/p>\n\n\n\n
When listening to Thomson explaining her vision and how she arrived at each piece of work, I realize the true scope of her search for eternal hope. She is searching not only for a way to cope with the impact of the world\u2019s treacherous waves of conflict, but also to instill in the viewer a sense of acceptance of being, and to find trust in the natural order and optimism in the face of uncertainty. In her powerful diptych \u201cEver After\u201d, an Indonesian Bird of Paradise sits placidly in the female figures hand. While a snake uncoils the arm of the male figure, a mouse in the other hand. \u201cThe enchanted mysteries of what may lie ahead. The uncertain treachery of such places. This is what fuels me\u201d. <\/p>\n\n\n
<\/a><\/figure>\n<\/div>\n\n\nTracy Thomson, Ever After, mixed media on two wood panels, 72 x 36 inches<\/p>\n\n\n\n
It is a show utterly worth seeing especially if you enjoy meaningful art with strong imagery.<\/p>\n\n\n