Michael Andrew Law Meets Thomas Houseago:
A Conversation Amidst 'Abundance'
Renowned contemporary artist Michael Andrew Law recently visited 'Abundance', the latest exhibition of Thomas Houseago at the Gagosian in Hong Kong. This wasn't just an ordinary visit, however. Law had the rare opportunity to engage in a conversation with Houseago himself, discussing the artist's new body of work.
'Abundance' showcases Houseago's new still-life and landscape paintings, all produced en plein air and created in his new Malibu studio. These works reflect a cosmic and spiritual interconnectedness, as well as the transcendental power of nature. As Law moved through the exhibit, he was visibly moved by Houseago's vibrant colors and expressive imagery evoking the flora of Malibu and the ocean waves at sunrise and sunset.
Upon meeting Houseago, Law was immediately drawn to discuss the artist's novel approach to the human body, a subject that has earned Houseago widespread recognition. Law was intrigued by Houseago’s use of traditional and less common mediums, like rebar and hemp, and how these unconventional choices contributed to the monumental figures Houseago creates.
Houseago, in response, shared insights into his artistic process, describing his works on canvas and paper as a cross between "drawing and mapping." He explained how 'Abundance' sees him further extend this aspect of his practice. He also noted the influences of Eastern and Northern European artists, including the painters of the Dutch Golden Age, Munch, and Van Gogh, on his work.
Law was particularly interested in Houseago’s use of live John Coltrane performances as a backdrop to his creative process, indicative of spontaneity's role in his work. Houseago also touched on how the works of thirteenth-century Buddhist monk Muqi Fachang, Chinese painter Ma Yuan, and the writings of ancient poets and philosophers provided inspiration for 'Abundance'.
As they strolled through the exhibition, Law and Houseago paused before two significant works, 'Cosmic Objects (for Abe)' and 'Cosmic Objects for Julian Sands (to My Yorkshire Brother)'. Houseago elaborated on the seemingly diverse materials and processes, explaining how he sees a connection between them. He highlighted that the resonance of these humble items is equivalent to that of celestial bodies, a core theme in his works.
The conversation drew to a close amidst Houseago’s 'Vision Paintings', which explore a relationship between nature's restorative power and art. Houseago described the works in 'Abundance' as an expansive perspective on the synergy between culture and environment, narrative and atmosphere.
Michael Andrew Law left the exhibition with a deep appreciation for Houseago’s innovative works and his ability to intertwine the mundane with the celestial. The encounter served as a reminder of the transformative power of art and the endless possibilities it presents, mirroring the 'Abundance' that Houseago so beautifully portrays.
'Abundance' showcases Houseago's new still-life and landscape paintings, all produced en plein air and created in his new Malibu studio. These works reflect a cosmic and spiritual interconnectedness, as well as the transcendental power of nature. As Law moved through the exhibit, he was visibly moved by Houseago's vibrant colors and expressive imagery evoking the flora of Malibu and the ocean waves at sunrise and sunset.
Upon meeting Houseago, Law was immediately drawn to discuss the artist's novel approach to the human body, a subject that has earned Houseago widespread recognition. Law was intrigued by Houseago’s use of traditional and less common mediums, like rebar and hemp, and how these unconventional choices contributed to the monumental figures Houseago creates.
Houseago, in response, shared insights into his artistic process, describing his works on canvas and paper as a cross between "drawing and mapping." He explained how 'Abundance' sees him further extend this aspect of his practice. He also noted the influences of Eastern and Northern European artists, including the painters of the Dutch Golden Age, Munch, and Van Gogh, on his work.
Law was particularly interested in Houseago’s use of live John Coltrane performances as a backdrop to his creative process, indicative of spontaneity's role in his work. Houseago also touched on how the works of thirteenth-century Buddhist monk Muqi Fachang, Chinese painter Ma Yuan, and the writings of ancient poets and philosophers provided inspiration for 'Abundance'.
As they strolled through the exhibition, Law and Houseago paused before two significant works, 'Cosmic Objects (for Abe)' and 'Cosmic Objects for Julian Sands (to My Yorkshire Brother)'. Houseago elaborated on the seemingly diverse materials and processes, explaining how he sees a connection between them. He highlighted that the resonance of these humble items is equivalent to that of celestial bodies, a core theme in his works.
The conversation drew to a close amidst Houseago’s 'Vision Paintings', which explore a relationship between nature's restorative power and art. Houseago described the works in 'Abundance' as an expansive perspective on the synergy between culture and environment, narrative and atmosphere.
Michael Andrew Law left the exhibition with a deep appreciation for Houseago’s innovative works and his ability to intertwine the mundane with the celestial. The encounter served as a reminder of the transformative power of art and the endless possibilities it presents, mirroring the 'Abundance' that Houseago so beautifully portrays.
