Last week, I had the honor of visiting Fred Tomaselli’s studio. He warmly welcomed Art Summit into his creative haven, where the realms of artistry and innovation seamlessly merge.

Upon entering his studio, I immediately noticed that, although there were only a few artworks on display, each one radiated exceptional quality, capturing my attention instantly. His older yet highly esteemed pieces harmoniously coexisted with his latest works in progress.

In one corner of the second room, a drawing hinted at an exciting project cloaked in secrecy for the time being. Fred Tomaselli has embarked on an extraordinary venture, a significant addition to New York City’s bustling transportation system. While the specifics remain confidential, it promises to become a highly impactful and widely recognized public masterpiece.

Fred graciously invited me to join him for a cup of tea as our conversation began, but not before he took a moment to introduce me to the intricate world of his resin work, highlighting the meticulous craftsmanship that defines his artistry.

Nestled in the heart of the East Village, Fred Tomaselli’s studio resides within a building rich in its own historical significance. He mentioned that renowned artists like Yayoi Kusama and other big names have also left their creative legacies within these walls.

Fred Tomaselli, a gifted artist born in Santa Monica, California, in 1956, is a highly acclaimed American artist known for his exceptional and captivating artworks. His creations transcend conventional boundaries, blending a diverse array of materials and imagery suspended within thick layers of clear epoxy resin. These meticulously crafted pieces on wood panels are truly mesmerizing, drawing viewers into intricate patterns that appear to organically sprawl across the canvas.

Tomaselli’s artistic journey draws inspiration from a wide range of sources, including art history, Eastern and Western decorative traditions, and the realm of hallucinogenic experiences. His signature works are enigmatic hybrids that blur the lines between paintings, tapestries, quilts, and mosaics. They are composed of a remarkable array of elements, including over-the-counter and controlled pharmaceuticals, street drugs, natural psychotropic substances, organic matter, collaged elements from printed sources, and hand-painted ornamentation. All these components harmoniously coexist within glistening layers of clear, polished, hard resin.

In his artworks, forms seem to oscillate, explode, implode, buzz, loop, swirl, and spiral, creating a visual symphony that defies easy categorization. Actual objects, photographic representations, and painted surfaces exist without hierarchy, giving rise to an electrifying and destabilizing experience. Tomaselli’s art neither fully embraces reality nor wholly indulges in illusion; instead, it strikes a unique balance that leaves viewers captivated and disoriented in equal measure.

In 2005, Tomaselli embarked on a new artistic journey, creating a series of works on paper that transformed the front page of The New York Times. Using gouache and collage, he reinterprets these news headlines, offering a surrealist perspective on the absurdity of news cycles. His creations serve as a canvas for responding to a myriad of issues, from regional anecdotes to global crises. In his own words, these Times collages may be “quietly political,” providing him with a platform to riff on diverse subjects while the chaos of the world serves as the backdrop. It’s his way of saying that despite the world’s troubles, he continues to create and paint.

Fred Tomaselli’s artistic influence extends far and wide, with solo exhibitions at prestigious institutions such as the Joslyn Art Museum, Oceanside Museum of Art, Toledo Museum of Art, Modern Art Museum of Fort Worth, and the University of Michigan Museum of Art, among others. His works have been featured in international biennial exhibitions and are held in esteemed public collections, including the Museum of Modern Art, Whitney Museum of American Art, Metropolitan Museum of Art, and many more.

His distinctive artistic language, blending intricate details, hallucinogenic influences, and a touch of the surreal, transcends traditional boundaries. His creations invite viewers to immerse themselves within the intricate tapestry of his imagination, offering a seductive and transportive experience while revealing the inner workings of artistic allure. With each piece, he beckons us to escape into his world, unburdened by radical agendas, and immersed in the pure essence of artistic expression. Fred Tomaselli’s work is a testament to his passion for nature, gardening, bird-watching, and the unapologetic pursuit of his artistic vision, encapsulating the artist’s unique perspective on reality.

In addition to his artistic achievements, Fred Tomaselli, born in 1956 in Santa Monica, CA, has been the subject of solo exhibitions at institutions including the Joslyn Art Museum, Omaha, NE (2019); Oceanside Museum of Art, Oceanside, CA (2018); Toledo Museum of Art, Toledo, OH (2016); Modern Art Museum of Fort Worth (2014) and the University of Michigan Museum of Art (2014). He has also presented a survey exhibition at Aspen Art Museum (2009) that toured to Tang Museum in Saratoga, NY, and the Brooklyn Museum, Brooklyn NY (2010). His works have been included in international biennial exhibitions, including Sydney (2010); Prospect 1 (2008); Site Santa Fe (2004); Whitney (2004), and others. Tomaselli’s work can be found in the public collections of institutions such as the Museum of Modern Art; Whitney Museum of American Art; Metropolitan Museum of Art; Brooklyn Museum; Albright-Knox Art Gallery; Hirshhorn Museum and Sculpture Garden; San Diego Museum of Contemporary Art; San Francisco Museum of Modern Art; Los Angeles County Museum of Art; Museum of Contemporary Art, Los Angeles; the Orange County Museum of Art, Santa Ana, CA; and many others.

Portrait of Fred Tomaselli

An Interview with Fred Tomaselli

By Carol Real

 

Photo credit: © Fred Tomaselli, 2024. Courtesy the artist and James Cohan, New York.

Editor: Kristen Evangelista

 

 

 

 

More images:

Vermilion Flycatcher, 2023. Leaves, acrylic, photo-collage, and resin on wood panel 72 x 72 in 182.9 x 182.9 cm, 80 lbs

 

Falcon, 2021. Leaves, collage, acrylic and resin on panel, 60 x 60 in. 152.4 x 152.4 cm

 

Bear Cam, 2021. Collage, acrylic and resin on panel 30 x 24 in. 76.2 x 61 cm. Ph P d Heurle
Untitled, 2020. Leaves, photo collage, acrylic and resin on wood panel 72 x 72 in 182.9 x 182.9 cm

Airborne Event, 2003. mixed media, acrylic paint, resin on wood, 84 x 60 x 1 1/2 in. 213.36 x 152.4 x 3.81 cm.
After March 21, 2020, Butterfly Population Declines, 2022. Resin, leaves, photo collage, acrylic on panel 48 x 53 in. 121.9 x 134.6 cm. Ph Lzzy Leung