The Scholar, Circa 2024
Painting : oil · 51 x 41 x 3 cm 20.1 x 16.1 x 1.2 inch · Ready to hang
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Shipped from: Canada
Delivery to: United States , $ 70
Estimated delivery: One to two weeks
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Verified Reviews : 9.6/10
About the artwork
Type
Painting : Unique artwork
Condition
Artwork sold in perfect condition, not framed, ready to hang
with stretcher frame
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Signature
Hand-signed by artist
Dimensions ( cm • inch )
51 x 41 x 3 cm 20.1 x 16.1 x 1.2 inch Height x Width x Depth
Sold by
Art gallery
Credentials
Vetted seller since 2024
Description
This intriguing artwork presents a surreal, enigmatic figure with a smooth, pale, and almost translucent surface. The head, devoid of distinct facial features, prominently displays an ethereal, feather-like form where the eye should reside, creating a striking focal point. This feather, rendered in delicate shades of blue and purple, imbues the composition with a mysterious, dreamlike quality. The absence of a mouth and nose enhances the figure's otherworldly essence, while the soft, subtle gradients of color evoke a sense of calm and introspection. The dark background contrasts sharply with the figure's luminous visage, further accentuating its spectral presence. This piece challenges the viewer to contemplate notions of identity and reality, harnessing minimalistic yet powerful imagery to evoke deep reflection.
Presentation
Doug Thoms is a contemporary figurative painter living and working in Tofino, BC on the traditional and unceded territory of the Tla-o-qui-aht First Nation. He was born in Belleville, Ontario, Canada, in 1965 and in 1989 he received a BAA from the Ontario College of Art and Design. From 1992 until 2010, Doug worked in the animation industry as a designer, storyboard artist and director. In 2010, Doug transitioned to a full time painting practice.
Doug Thoms embraces painting as a space of unruly play. Each canvas brims with an undisciplined jumble of imagery: fragmentary figures, distorted objects, and painterly gestures that slip in and out of legibility. The works are built from an eccentric set of visual obsessions, filtered through a wide range of stylistic tropes, and arranged with deliberate disregard for tidy cohesion.
What emerges are colourful, abstracted figurative compositions that are at once bright and disarming. Their saturated palettes and energetic brushwork draw the viewer in, even as the subject matter hints at darker undercurrents. Pop-culture dystopias, vague yet haunting narratives, and flashes of absurd humour collide in these layered spaces. The result is a visual theatre of contradiction—chaotic yet carefully orchestrated, playful yet foreboding.
By leaning into disorder, Thoms invites us to linger in the instability of meaning. The paintings resist resolution, instead suggesting that our contemporary condition may itself be best reflected in fragments, distortions, and mischievous narrative gaps.
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