Thomias Radin’s paintings are collages of cultural references through which he investigates questions of identity and epistemology. Elements. of urban culture, juxtaposed with elements of early-modern European art create a map of aesthetical values that have informed the artist’s practice. Borrowing to the musical technique of sampling, fragments of these memories and references are reappropriated.
Describing his paintings as depicting ‘internal fights’, Thomias Radin seeks to represent a double-consciousness: one formed through the intellect and one instigated through the physical experience of the Black body. Moving bodies in his paintings, frozen into metaphorical moments, occupy the surreal backdrops of the subconscious. It is not anymore the mind that occupies the body but the opposite. The Western Cartesian experience is disturbed by animated bodies, carriers of another memory. The self comes into existence through the body and the bodily. By performing in front of his paintings, Thomias Radin pursues his aesthetical investigation of the experiences of blackness, Western urbanity and post-coloniality. The dance, the painted representations, the artist’s body and consciousness, the viewers’bodies and gazes form a constellation of forces feeding the choreography of the artist’s “internal landscapes.”
Written by Beya Othmani