Word: thompson
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Dates: during 1970-1979
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...soaring upward movement to the composition like a requiem sung to exalt and commemorate the dead. It echoes of a Gothic Cathedral's flying buttresses, and yet it is all on a small scale and an observer could either wax metaphysical about such images or simply enjoy Thompson's wood-craftmanship and skill with pattern...
...Mildred Thompson's sculptures are like frozen tree-spirits in classical Greek mythology--half-close your eyes and stand back from a cluster of them and you could almost imagine the room was filled with figures that are half-human, half-tree, but all energy trapped beneath the wood surface. This exhibition in Hilles consists of smooth-oiled spruce statues and murals with names like Frozen Banner or La Primavera or Full Orchestration. They are abstractions of abstractions, the work of an artist who declares "I never knew an artist in my life". They are a perfect symbiosis between function...
They have been sponsored in honor of last February's Black History Month by the Afro-American Studies department and the HRBAS. The African and Western forces spurring on Thompson's art seem apparently at harmony with another. For these works are for all humans, created by a black artist who would rather devote energy to reaching people positively, than by protest. As a result, they seem warm and very approachable--the kind of art you want to touch and hold, as well...
...Thompson returned in 1974 from a self-imposed exile in Germany, and is now an artist-in-residence in Tampa, Florida, where she practices her philosophy that art should be a lifestyle and strives to make art accessible. There she plans works that are on a large scale (one sculpture planned will be four stories high), but that nonetheless invite rather than repel people. Similarly, the sculptures in this exhibition manage at once to personify music with their rhythmic compositions and to feast your eyes with more substantial fare--knotty wood with the nails and lumbermarks still showing. This self...
These works pull the space through the spaces between them like invisible thread through a needle. The general effect is that of a series of soft-cornered 3-D mazes that you could explore infinitely. Full Orchestration is still another example of Thompson's incredibly intricate composition. It reminds one of a magnified living cell with segments of the outer wall cut away to show the inner workings, in all their complex relationships...