Stories somewhere out there in the sand
TOM JEAN WEBB
Friday- Sunday 11-5pm or by Appointment contact email@example.com
The art was created as a means to represent a message or way of life. I became interested in telling my
own story by a creation of a new era or society with its own objects based on personal expression of
internal issues and social commentary, designing and developing my own symbols and imagery in order to
suggest a message. My visual representations allow me to continue to understand the ideas of these
objects, the role that art plays in the presentation of these movements, and the proposed visualization of
an idealistic or honest statement.
My pieces allude to a fictional social movement, ceremony, culture, escapism, feeling or folklore that are
expressed within the materials of my objects. My representations of this movement or idea do not fit into
a given time period or specific social or political matter, but rather become something more timeless and
multi-referential.The adopted repetition that exists within the work is done to instigate a relationship
between the works as a whole, referencing the idea of mass communication and continued narrative, to
begin to develop the understanding of elements contained within the singular pieces and solemnity to
The strong use of craft is done as a primordial form of art, processes that masses have experienced and
connected with, thus offering a basis for investigating the concept of communication through the medium
of art. The objects illuminate an energy through their production, whether an intensely repetitive action,
effective technique, or an instant arrangement and joining of materials.
My work often includes portraits, from all aspects of humanity, including both modern and historical times.
This is to feed the social qualities of the work, to interact with the audience on a humanitarian sense, and
to feel a rudimentary connection with the work. I’m fascinated by the idea of 'freedom' within art the idea
of achieving some sort physical or emotional freedom, whether that be in the process of making it,
displaying or viewing it. The visual representation of a 'nothing' or a blankness juxtaposed to detail
information in my work is essential. By using a void or negative space, I can create just as much if not more
emotion or narrative in an image. I can manipulate not only the eye, but also the way an image is read. This
forces the viewer to fill in the space both literally and conceptually. Why is the space there and how does it
affect what is present? Before I’ve started, I think about how I’m going to un-draw something, and how I
can then draw, create an emotion with empty space or a 'nothing'.
I grew up with fabric around, my mother is a curtain maker, and so I had a unique opportunity to
understand the beauty within fabric and textiles. She is someone who I have collaborated with many times
and enjoy making artwork with. My granddad is definitely the major male influence. My
fascination with America and American history and culture very much came from him. From a young age
his house fascinated me. It’s decorated with all sorts of Americana, artifacts and memorabilia. The simple
fact that he found such joy in a culture that existed outside of his own, and the way that he adopted this
through his fashion or ideas, is something that has had a big effect on me.