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Art & Life with Thomas Whittaker Kidd

Today we’d like to introduce you to Thomas Whittaker Kidd.

Thomas Whittaker, please kick things off for us by telling us about yourself and your journey so far.
I spent many hours playing in the sand that the rain brought to my corner at the bottom of the hill where I grew up and later realized that these dreamy times can be a life calling. My mother enrolled me in a children’s workshop at the Rhode Island School of Design Museum which showed me that the cruel culture of limitations and collective low expectations that was pervasive in the dying town of Fall River, MA, where I was from, was not the mind set represented by the palatial setting for art in the RISD Museum. However, practical economic thoughts as I finished high school took me off the artist track. My health eroded over the next 2 and a half years at the University of Rhode Island, while being distracted by the comforts of the Natural Laws of Physics and a future in engineering, but the need to be dreaming and thinking thoughts that don’t have equations along with needing a better functioning body forced me to acknowledge that art was my life. “Cause dreams they seem to cost money
But money costs some dreams” (The Hold Steady).

Now in LA, I swim past the breakers, usually alone, at Dockweiler Beach. I experience a detachment from self while being surrounded by a seemingly infinite body of water and sense that I am part of an infinitely large system of lives. Sure, social identity returns but the perspective of a bigger context continues to keep me on this fortunate path. Looking up at the midnight sky during my nightly walks steadily widens my vision.

Can you give our readers some background on your art?
What I present in my work. are characters seeking common human desires of wanting excitement, joy, and peace or security, especially in the unstable environment of American culture. Displaying the pursuit of these common human desires is how I seek shared experiences with my audience. I strive to dismantle fears in order to flush out these desires by representing the immediacy of actions that place you into a playful state of joy in my Giddy Post-Dystopia. I keep my creative process and materials visible to allow one to feel the action of connecting the pieces to become something like an organic molecule; unique to the qualities of the atoms/materials but the energy that holds it together makes it a beautiful complex being of potential to learn and grow. I think of my work as an initiator and a place where sharing thoughts, stories and laughs becomes a natural response. In an art gallery, a particular expansive interaction begins since both the artist or art work that sits in for the artist, and the visitor are from somewhere else.
“I’ll let you be in my dreams if I can be in yours” (Bob Dylan-Talkin’ World War III Blues)

Do you think conditions are generally improving for artists? What more can cities and communities do to improve conditions for artists?
There are many new galleries in LA and is a good site to find opening receptions. Getting to know galleries and the gallerists is an important part of building relationships that can lead to shows and representation. LA needs more Affordable live/work spaces with the large rise in rental costs. I know of good live work/spaces in many US cites run by Art space but none here yet. I have heard one here in LA could be in the future. There are online sites to sell your art work like

What’s the best way for someone to check out your work and provide support?
I will have work at bG Gallery, Ocean Park Opening Party, Opening April 28, 6 PM – 10 PM
3009 Ocean Park Blvd, Santa Monica, CA.

On you can find upcoming exhibits often in LA, sometimes in New York and other cities. or contact me about a studio visit in my LA studio.

Contact Info:

Love Boat Breaks Through The Border, 40 x 60 inches, oil on canvas, 2017
Changing Of The Guard, 52.5 x 66 inches, oil o/c, 2017
Walking On The Twisting Earth, 20 x 16 inches, oil on canvas, 2017
Sucking Up The High, 55.5×67.75 inches, oil on canvas, 2018

Fragile Excitement, 52x52x22 inches, found beach clothes, wood, steel, leather, rubber, rock, glass and urethane, 2018
Cruise Missile, 20×16 inches, oil on canvas, 2018
Pilgrimage To The Process, installation/performance, art supplies, Turkish prayer rug, drywall, steel and tent, 2017 (image 1)

Fist Bumping A Meteor Over The Small World, 12×11 inches, oil on canvas, 2018

Image Credit:
Main photo: Jim Ovelman
Thomas Whittaker Kidd

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