Thomas Doyle

http://www.thomasdoyle.net/distillation/

https://www.instagram.com/thomasdoyleart/

Thomas Doyle was born in Michigan, USA in 1976 and now lives and works in New York. 

Doyle’s work combines his formal training as a painter and printmaker with a fascination with scale models that began at an early age. 

His sculptures, rendered in 1:100 to 1:43 scale, often depict human figures beset by quiet calamities, often of the natural kind.

Doyle’s work has been shown at museums and galleries across the US, Europe, and Asia. 

Images of his work have appeared in The New York Times Magazine, The New Yorker, Newsweek, and other publications.

He is a recipient of the 2009 West Collection purchase prize and a fellowship from the MacDowell Colony.

--Please tell us about yourself.

I’m an artist living and working in a small town just outside of New York City. I create miniature worlds populated with tiny figures. Most of these are scenes that depict “frozen” moments – where something is about to happen or something just happened. I started making this type of artwork in 2003.

--What is the concept and meaning of the title,“HOLD YOUR FIRE”?

“Hold your fire” is a command one might hear on a battlefield – to stop firing a weapon. Many of the titles in my work play with double meanings in English. In this case, I like the idea of the title of this show referencing warfare … but “hold your fire” to me also seems to relate to holding onto the spirit or essence inside of a person. Whatever drives a person – be it anger, or kindness, or creativity – you may consider that the “fire” inside.

--What is the reason that you have chose themes like 「Isolation」,「Separation」and「Crisis」 which relates to human’s anxiety?

I’ve been interested in the themes of isolation, separation, and crisis for many, many years. Before I made miniature work these types of themes appeared in painting, monoprints, and other artwork I created. They seem to me to be a core aspect of what it means to be human. Using these themes in my own work provides an outlet to think through any feelings of anxiety I may have from time to time. Hopefully this provides viewers with a different perspective as well. The miniature tends to be a very suitable medium for these themes for two reasons. First, it is unexpected, as we assume miniatures to be cute and “easy” to comprehend. Secondly, using miniatures allows the viewer to “shrink” problems down to a manageable size. I find that comforting, and I think other do as well.

--We understand that you started to create your miniature figures from childhood, but how did you happen to be an artist? Was it a natural thing? Have you done any other genres of art than miniature figures?

I have spent my entire life making things, so it is not a surprise that I became an artist. I played in rock bands, wrote fiction, painted, made prints, drew cartoons – I was always creating something. I ultimately found that making visual art was how I could express myself best. I was really into miniatures as a child, and only returned to it in 2002, when I found it fit well with the sort of themes I wanted to use in my art.

--Please tell us the biggest sculpture that you have made.

The largest sculpture I made was about 15.5 feet (4.7 meters) long, for a solo museum show I had in New York. The work depicted a scale river that was dammed by two massive piles of trash. Between these a family had built a home in the river bed. It took me the better part of a year to create it.

--What do you most likely to come up with the idea of your artwork? What is your inspiration?

Most of my inspiration comes in short bursts during daydreaming. Reading the news, talking to people, learning about history and the world – all of these things factor into my artwork. When an idea comes to me I try to write it down and sketch it out. I have many ideas, and far too little time to create them all. So I pick and choose what I want to make. It may take minutes to stumble on an idea, but it takes many hours to make the final work.

--Do you have any book, music or movie that influenced you?

I used to read a lot of history – particularly the history of World War II – and that has been a large influence on my works that depict conflict/destruction. I have an affinity for science fiction films and books – anything that bends reality and shows us a fresh, uncanny take on the world around us.

--How do you spend your day-off?

I spend time with my family, repair things in my home, run errands, cook, visit friends – regular life things, I think.

--How was your first visit to Japan? How did you feel? Is there anything that inspired you?

I absolutely loved Japan and was so happy to have to opportunity to visit. I have traveled to many places, but Japan was unlike any I had seen. It felt so similar to the United States in many aspects, but so far apart as well, in a way that is hard to describe. While there I visited Tokyo, Takayama, and Kyoto, and I look forward to returning. To be honest, one of the things I found I loved the most was the capsule machines I found all over the country – where you put in a few yen and take out a toy/object. I am obviously fond of miniatures and toys, and the sheer number and variety of these machines made me so happy.

--What is your next project and future plan?

I am working on a very different project at the moment, but I’m not quite ready to share it yet. It is a combination of objects, graphic design, and science fiction. If the miniature pieces are short stories, this project is more of a novel – it takes longer to unfold for the viewer.

--Please give a message to your worldwide fans and viewers who are planning to come to the exhibition.

Thank you for making the effort to see the work in person! 99.9% of people viewing artwork do so online – it’s very rare these days to see artwork itself instead of just images of it on a screen. I really love how my works look when photographed, and I think the images tell a great story. However, viewing the works in person is a different experience. When I started making this type of work 15 years ago I did not foresee the opportunities I’ve had to exhibit all over the world – including places like the DIESEL ART GALLERY in Tokyo. I’m grateful to those who have supported my work.