The subject matter of Tom Baldwin's digitally generated works on paper—vehicles, furniture and various common objects—is collaged together in a non-hierarchical picture space defined only by the work's circular format. Its beauty lies with a certain pleasure in technology and, as old-style Conceptualism did, in information and ideas that are also metaphors. The impetus for this work was the collaboration between Baldwin and Viennese artist Gilbert Bretterbrauer. The two exchanged images via the Internet, each time manipulating shape, form, color and even subject. The resulting works are lushly colored compositions where referential material appears fleetingly or is pushed back to abstraction. The pieces are like signs or fragments adrift, stuttering thoughts redrawn based on everyday things yet transformed into color and unfixed symbols. Through the dialogue between the two artists a notion of doubling or duality arises throughout the body of work. The collaboration emphasizes Baldwin's interest in connectivity, the relationships between images and information, and the flow of one thing into the next. Formally he stresses these relationships through his use of silhouette, recurring shape and repetition. Overall, the images are essentially digital paintings, visually dispersing traditional imagery into color, pattern and form to inspire multiple impressions and entries into viewing.

Based in Hawaii, Tom Baldwin has exhibited in such institutions as the Armand Hammer Museum of Art and the MAK Center in Los Angeles, the Secession, Vienna and the Kunstlerhaus Klagenfurt, Austria. This is Tom Baldwin's first one-person show in Seattle and his first with James Harris Gallery.

Images as groups
				All images are untitled 12 1/2" Diameter Unique Inkjet Print or Gouche and watercolor on paper
selected single works