JEREMY THOMAS: OF OUR OWN MAKING August 7 - September 5, 2026
Jeremy Thomas
The challenge is there in the title: Of Our Own Making. The person who enters the gallery is entreated to become an active participant in the perception and understanding of the art objects found within. Life asks this of us every day - but it is art that so often provides the space, the paring down, the intensity of focus, which allows us to notice internally where we are stuck, where preconceived ideas interfere with perceptions. Art says: pay attention to your prejudices. Take responsibility for your vision. See with the artist. Bring your full self, your personal history, your emotion and knowledge, with full awareness, into the gallery with you. All that you are, the world itself, will shape your experience. But these sculptures challenge us in more ways than one. Those familiar with the work of Jeremy Thomas will expect the folded and puckered forms of his inflated cold-rolled steel - but these forms are prickly. Spined, bristled. Their weight balanced precariously on points, and reaching outward and upward with thorny edges. The human brain is wired for a wariness of spikey things, and so these new sharp forms challenge our bias - even as the sumptuousness of their glossy colors and allure of their velvety-textured rust patina, seduce us to come near, get closer. Deep, brilliant, and intense - the colors saturate the eye. Midnight blue. Iron-rich red. A green that shimmers with depths of blue and violet. A rich, coagulated pink. The palette choices and saturation set the stage for an experience of color that is complex and shifting. An experience of color that pulls and leads the viewer to move around and explore the sculptures closely. But those spikey forms! Whereas at first we might find a warning in the shapes - soon they begin to feel familiar. Reassuring. Thomas notes that this new exploration of spiny forms began in 2025, and initially came from encountering the bright green, pointed holly leaves in otherwise barren hedgerows on bleak January walks in Wales. Back in New Mexico in his studio, as he explored and worked with these shapes, he realized that “all the pokey things in the world are pokey for a reason…” Plants and creatures evolve
spines and spikes, sometimes for protection, but also sometimes so that their seeds can stick to something and be disseminated far and wide. New life from a spikey beginning. These remarkable new pieces are not the only new explorations that Thomas brings to Of Our Own Making. Also included are a series of small sculptural objects that were printed on a 3D printer from translucent polycarbonate material. These works represent a whole other avenue of exploration for Thomas, utilizing a material that has long fascinated him, and exploring the use of digital technology to create his forms. These forms are lobed and radiant. If the steel sculptures are spikey sea creatures or seed pods - these are nacreous shells or transparent invertebrates. Thomas hand paints the forms, leaving many of the forms’ sides translucent and a few opaque. The effect is a luminous confusion of shape and color, a silvery shimmer that seems to contain several stops along the color spectrum. It can be hard to pin down where a curve ends or an edge begins due to the particular quality of the material and how light interacts with pigment. The challenge here, from Thomas’ perspective, is the use of new technologies. It is important, he says, to see digital technology as another useful tool in art-making, but not to give it more weight than it warrants. As he says, “It’s just another tool. It’s just another technique and realm to explore. I think in our digital age, we forget the reason why we make. And how important our human experience is in that making process.” Perhaps this is the final challenge presented in Of Our Own Making. The culmination of these disparate new works is an understanding of Thomas’ own stance as an artist in the world; constantly engaging, questioning and bringing those experiences, those discoveries, back into the studio where he interprets and integrates them. It is clear, walking through the gallery, that artmaking is how Thomas makes sense of the world. Whether it is the silken slide of light across one of his new 3D printed pieces, or the way that his spiky forms “catch” you with their spines, beneath it all, Thomas demonstrates to us a way to be in the world. - Michaela Kahn, PhD
Halbert, 2026, cold rolled steel, powder coat, and urethane, 26 x 35 x 26.5 inches
Leister, 2026, cold rolled steel, powder coat, and urethane, 26.5 x 24 x 28 inches
Techno Feudalist (AKA Big Magenta), 2026, stainless steel and powder coat, 57 x 61 x 46 inches
Gaff, 2026, cold rolled steel, powder coat, and urethane, 19 x 29 x 22 inches
Spine, 2026, cold rolled steel, powder coat, and urethane, 24 x 28 x 21 inches
Brickbat, 2026, cold rolled steel and powder coat, 20 x 28 x 20 inches
Breaking the Spell, 2026, polycarbonate & vinyl emulsion, Edition of 5, 9.5 x 9 x 9.5 inches
Double Header, 2026, polycarbonate & vinyl emulsion, Edition of 5, 6.5 x 7 x 11 inches
From the Center, 2026, polycarbonate & vinyl emulsion, Edition of 5, 8.125 x 10.125 x 9 inches
Own the Day, 2026, polycarbonate & vinyl emulsion, Edition of 8, 7 x 6 x 9 inches
Enter Connect, 2026, stainless steel and automotive paint, 93 x 52 x 47 inches
Baseline, 2026, cold rolled steel and urethane, 26.5 x 38 x 31 inches
Spike, 2026, cold rolled steel and powder coat, 19 x 29 x 22 inches
Bicameral, 2026, PLA, Open Edition, 5 x 9 x 6.5 inches (All proceeds go to New Mexicans to Prevent Gun Violence)
Aquilegia, 2026, PLA & acrylic enamel, Edition of 5, 10 x 10 x 7.125 inches
Halbert, 2026 cold rolled steel, powder coat, and urethane 26 x 35 x 26.5 in. JT640 Click to inquire about this work
$7,500
Spine, 2026 cold rolled steel, powder coat, and urethane 24 x 28 x 21 in. JT639 Click to inquire about this work
$7,500
Leister, 2026 cold rolled steel, powder coat, and urethane 26.5 x 24 x 28 in. JT638 Click to inquire about this work
$7,500
Brickbat, 2026 cold rolled steel and powder coat 20 x 28 x 20 in. JT642 Click to inquire about this work
$7,500
Techno Feudalist (AKA Big Magenta), 2026 stainless steel and powder coat 57 x 61 x 46 in. JT641 Click to inquire about this work
$37,500
Breaking the Spell, 2026 polycarbonate & vinyl emulsion Edition of 5 9.5 x 9 x 9.5 in. JT645 Click to inquire about this work
$1,000
Gaff, 2026 cold rolled steel, powder coat, and urethane 19 x 29 x 22 in. JT634 Click to inquire about this work
$7,500
Double Header, 2026 polycarbonate & vinyl emulsion Edition of 5 6.5 x 7 x 11 in. JT646 Click to inquire about this work
$850
From the Center, 2026 polycarbonate & vinyl emulsion Edition of 5 8.125 x 10.125 x 9 in. JT644 Click to inquire about this work
$1,000
Spike, 2026 cold rolled steel and powder coat 19 x 29 x 22 in. JT633 Click to inquire about this work
$7,500
Own the Day, 2026 polycarbonate & vinyl emulsion Edition of 8 7 x 6 x 9 in. JT643 Click to inquire about this work
$850
Bicameral, 2026 PLA Open Edition 5 x 9 x 6.5 in. JT647 (All proceeds go to New Mexicans to Prevent Gun Violence) Click to inquire about this work
$800
Enter Connect, 2026 stainless steel and automotive paint 93 x 52 x 47 in. JT631 Click to inquire about this work
$45,000
Baseline, 2026 cold rolled steel and urethane 26.5 x 38 x 31 in. JT636 Click to inquire about this work
$8,500
Aquilegia, 2026 PLA & acrylic enamel Edition of 5 10 x 10 x 7.125 in. JT648 Click to inquire about this work
$1,000
Born: 1973, USA Education: 1996 Bachelor of Fine Arts, College of Santa Fe, Santa Fe, NM 1995 Internship, artist blacksmith Tom Joyce, Santa Fe, NM 1994 Internship, intaglio printmaking, painter Jean Richardson, Oklahoma City, OK 1993 Internship, intaglio printmaking, painter Jean Richardson, Oklahoma City, OK 1992 Oklahoma Summer Arts Institute, with artist Deloss McGraw 1991 Oklahoma Summer Arts Institute, with artist Robert Zakanitch / Rahway Residences: 2018 Ucross Foundation, Ucross, WY Fellowships: 2021 Dots Between, Santa Fe, NM Selected Solo Exhibitions: 2026 Of Our Own Making, Charlotte Jackson Fine Art, Santa Fe, NM 2023 Canvas II, Bentley Gallery, Phoenix, AZ 2022 Canvas, Charlotte Jackson Fine Art, Santa Fe, NM Aromatic, Walking House Gallery New York, Seoul, South Korea 2021 Aromatic, Walking House Gallery New York, Busan, South Korea 2020 Repetition, Bentley Gallery, Phoenix, AZ 2019 Airborne, Phoenix Airport Museum, Sky Harbor International Airport, Phoenix, AZ Vital Expansions, Galerie Richard, New York, NY Unintended Consequences, Center for Contemporary Art, Santa Fe, NM Structural Consciousness, Charlotte Jackson Fine Art, Santa Fe, NM Oscillations in Color and Sound, Munich, DE 2018 Analogue, Galerie Richard, New York, NY Solo Booth, Volta NY, New York, NY 2017 Tanked, Galerie Richard, Paris, FR Nonfunctional Slack-Fill, Bentley Gallery Phoenix AZ “Sensualminimalphysical,” Galerie Renate Bender Munich, DE 2016 Grown Cold, Charlotte Jackson Fine Art Santa Fe, NM Tanked, Galerie Richard, New York, NY 2015 Bursting at the Seams, Bentley Gallery, Phoenix, AZ 2014 Ditching the Cardigan, Charlotte Jackson Fine Art Santa Fe, NM Highly Sensuous, Galerie Renate Bender Munich, DE Solo Booth, Art Karlsruhe, Karlsruhe, DE 2013 Camber, Bentley Gallery, Scottsdale, AZ Jeremy Thomas, Peter Blake Gallery, Laguna Beach, CA 2012 Dialogues in Steel, Charlotte Jackson Fine Art Santa Fe, NM 2009 Boll, Charlotte Jackson Fine Art, Santa Fe, NM Cotton Module, Samuel Freeman, Santa Monica, CA 2008 Implement, Jackson Fine Art and Charlotte Jackson Project Space Santa Fe, NM 2007 Jeremy Thomas, Patricia Faure Gallery, Santa Monica, Ca 2006 Inflatables, Charlotte Jackson Fine Art, Santa Fe, NM
1996
Element and Image, Two Thesis Exhibitions College of Santa Fe, Fine Arts Gallery, Santa Fe, NM
Recent Group Exhibitions: 2025 Green Acres, Charlotte Jackson Fine Art, Santa Fe, NM Ruler and Compass: mathematics in art, Bentley Gallery, Phoenix, AZ 2024 Metal Mashup, three Artist exhibition, Charlotte Jackson Fine Art, Santa Fe, NM Back to Basics: Art from Fredrick R. Weisman Art Foundation, Ronald H. Silverman Fine Arts Gallery, Los Angeles, CA In Good Shape: Shaped Canvases and Metal, Galerie Renate Bender, Munich, DE Blind Date - the collection of Maximilian and Agathe Weishaupt in Dialoge with the collection Liaunig, Museum Liaunig, Nuehaus, Austria Conversations, Charlotte Jackson Fine Art, Santa Fe, NM 2023 Fall Crush, Charlotte Jackson Fine Art, Santa fe, NM What’s Out There, Galerie Renate Bender, Munich, DE Summer Group Show, Bentley Gallery, Phoenix, AZ 2022 Winter Rapsody, Charlotte Jackson Fine Art, Santa Fe, NM EinLandung, Multipleart Zurich, CH Pop-up show, Walking House New York, Centum City Busan, South Korea Violet Veil, Charlotte Jackson Fine Art, Santa Fe, NM Quick Silver, Charlotte Jackson Fine Art, Santa Fe, NM Common Ground, Charlotte Jackson Fine Art, Santa Fe, NM 2021 Black is Beautiful, Galerie Renate Bender, Munich, DE Metal Mashup, Charlotte Jackson Fine Art, Santa Fe, NM Public/Corporate Collections: Albright-Knox Gallery Buffalo, New York Fidelity Investments Boston, MA Fredrick R. Wiesman Art Foundation Malibu, CA J Crew, London, UK Kunstsammlung F. Hoffman-LaRoche AG, Basel, Switzerland New Mexico Museum of Fine Arts, Santa Fe, NM Phoenix Art Museum, Phoenix, AZ Phoenix Airport Museum, Sky Harbor International Airport, Phoenix AZ Quartz Mountain Arts and Conference Center Lone Wolf, OK (destroyed by fire) University of Arkansas Fort Smith, Fort Smith, AK Scottsdale Museum of Contemporary Art Scottsdale, AZ Trammell Crow Center, Dallas, TX W C Bradley Corporation, Columbus GA Public/Corporate Commissions: Santa Fe Public Arts Council, Santa Fe, NM University of Arkansas Fort Smith Campus, Fort Smith, AK J S interiors Group, Las Vegas, NV MKG Art Management, Houston, TX Midas Hospitality, Clayton, MO Ready Design, New York, NY Numark Art Advisory, Washington, DC
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