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The horrors of a levitating cat vomiting on your bed—thereby interrupting your hours of rest—are bordered by a depiction of the Stations of the Cross, with a comforting depiction of Michelangelo's Maria Pieta offsetting the entropy of this crazy-quilt foray into spiritual art. A thought-provoking work for a guest bedroom, this large work offers much in the way of a conversation piece for visitors to your home who may not be acquainted with Catholic theology. Starting in the upper left-hand corner and working clockwise, the 14 stations are: 1) Jesus receives the death sentence from Pontius Pilate 2) Jesus receives a cross as a parting gift 3) Jesus slips 4) His mother Mary greets Jesus 5) BFF Simon helps Jesus carry the cross for a bit 6) Veronica wipes the sweat from Jesus' face 7) Jesus slips and falls again 8) Jesus captivates an audience of Jerusalem women 9) For a third time, Jesus falls down 10) Stripper Jesus is denuded of His clothing 11) A Roman soldier nails Jesus to the cross 12) Jesus and two criminals are crucified, one of whom will be with Him later that day in paradise 13) Jesus' followers remove His spent body from the cross 14) The followers bury Jesus in a tomb, sealing its entrance with a boulder (c) 2013 Thomas M. Brodhead
Print:Giclee on Fine Art Paper
Size:12 W x 9 H x 0.1 D in
Size with Frame:17.25 W x 14.25 H x 1.2 D in
Ready to Hang:Yes
Packaging:Ships in a Box
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
A native of St. Louis who’s lived in middle Tennessee most of his life, Thomas Brodhead studied classical music theory, history, and composition at Oberlin in the 1980s. During those years, he pored over classical scores while studying orchestral and chamber works, unaware that he was absorbing geometric graphic design that’s been in his blood ever since. After college, he worked as a classical sheet music editor and engraver (music typesetter) for 20 years, writing original computer programs to set music notation so that it conformed to the best Greek proportions and geometries. (Importantly, he produced a Critical Performing Edition of the Fourth Symphony of Charles Ives, a work so rhythmically complex that it requires at least two—if not three—conductors to perform.) But arranging black glyphs on white paper grew tiresome, and starting in 2009, he turned to color and began to paint. At first, his paintings were cartoonish and comical, always paired with tongue-in-cheek artist statements on the meaning of each piece. Over time, though, he began to take his work more seriously, exploring color and geometry on large canvases (up to 4 feet by 3 feet), but never failing to pen an accompanying whimsical statement. But more and more the whimsy veiled serious social commentary, often on the dangers of transhumanism (the integration of humans and technology) and the infantilizing effects of social media. Painting and writing thus combined in a Wagnerian Gesamtkunswerk, in which the combination of the two formed the total artwork. He joked that his early humorous style—cartoonish and splattery, with an emphasis on narrative—was “on an overlooked axis connecting Jackson Pollock and Norman Rockwell.” But after studying the color theory of Albert Munsell and discovering the joyous geometries of the artist Stuart Davis, his work took a sharp turn. Still working on larger canvases, he began planning each work in detail, defining the exact composition of its figures and determining its color scheme in advance. The execution of the paintings took longer and longer, one even clocking in at 160 hours. Borrowing a technique from 20th century classical music—and a technique perhaps never before applied to visual art—he produced a series of fractalized paintings that, at times, have a dizzying paint-by-numbers quality.
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