Continuing through August 31, 2014
Jeremy Thomas’ show "Ditching the Cardigan" is for the proletariat. It’s enticingly accessible. Most of the work is on the floor, some large pieces hang at shin level, and smaller multifaceted orbs hang higher up. Overall the floor of the gallery is sprinkled with lots of big lumps hanging out like eccentric playthings that sneakily crawl up the walls — each with its own character, all in dialogue with one another. Thomas’ color inspiration originally stems from tractors, but in "Ditching the Cardigan" Thomas uses car paint and nail polish.
One of the smallest pieces, "Faye Violet," is tactilely small and sits on a plinth exposing a flowering trio of steel triangles that are coated in a sparkly lavender-pink. It’s innocent like a unicorn yet reeks of sticky vinyl. The rest of this contorted, winged object is a mat burnt orange referential of rust — very characteristic of Thomas’ objects. In juxtaposition, these weathered surfaces ground the work and defy the airy trope of pop art. "Faye Violet" boasts the raciest lacquer, but all the metallic and candy-colored surfaces suitably dress each sculpture, making this an upbeat collection of industry meets art.