Thaddeus Beal
Thaddeus Beal seeks to capture the “underlying vitality – the dynamic evolving energy – that we instinctively sense in nature” in earth-toned paintings coated with layers of urethane and incised with a complex system of lines. Beal explores graph theory, complexity theory, and chaos theory to determine the fundamental order in his compositions. The resulting paintings are his visual response to scientific and mathematic structures, but do not illustrate a specific system of science. The paintings refer to both micro and macrocosmic systems due to their lack of scale cues and allover patterning, and their references to multiple sources: fossils, fractals, mandalas, maps, and topography. The cartographic designs incised in the surface also reveal Beal’s interest in the decorative patterning of Indian and Islamic architecture, and Australian Aboriginal dream paintings. His use of a limited color palette further emphasizes the importance of pattern in his work, and implies distance, timelessness and nostalgia. Beal has suggested that these works confront what “Islam would call ‘the West’s fear of infinity.’”
Thaddeus Beal resides in Somerville, MA
Image: Thaddeus Beal, Spring Convergence, 2005, mixed media on acrylic, 51” x 51”, Lent by the Artist, Courtesy Robert Steele Gallery, New York, NY and O·H+T Gallery, Boston, MA
