TOM SERIES: Self-portraits based on Chambers' life experiences
Tom R. Chambers utilizes the self-portrait to project his life experiences. His portrait remains constant with the experience (situation) indicated as a change or flux in the image. The accompanying text details his experience with the inclusion of links to the Internet for additional information. "Tom Series" is not only an artwork about Chambers' life - biography (visual/textual) - but also a reference tool, a study of history through his existence. Chambers put together another project, "Descendants 350" in 1986 that used a similar approach to the study of history (Rhode Island's early history) by generating/displaying documentary portraits of the Descendants of the Founding Fathers along with text about their (Ancestors') trials/tribulations and contributions in the making of the State.
This connection of the past and present - using imagery of contemporaries (living individuals) to create a sense of immediacy - in both projects, "Tom Series" and "Descendants 350" creates more interest and excitement in studying a subject ... history, in this case. The constancy of the same portrait (Chambers' image) indicates a human being's existence within a world/an environment that's ever influencing and changing the psyche and at some point in time - later (twilight) years for this individual, the psyche begins to take control and evaluate the process - vis-a-vis, "Tom Series".
Viewers of the same generation will probably begin to travel down their own personal memory lanes that may or may not cross his own. As they look at a particular image and read the text of "Tom Series", they may very well have had a similar to almost same experience. If not, they might begin to think about what they were doing during that particular time period when he was involved in his particular life activity and even compare their and Chambers' activities - more or less fortunate, happier or unhappier - and other situational aspects that determine the human condition. And for particular viewers, their life experiences might weave in and out of his, creating a subliminal connection - similar to the helix that equates all life at the biochemical level.
Viewers of today's generation - the young generation - will get a hint of what has come before them and might be ahead of them in an immediate sense. "Tom Series" becomes a litmus test for this generation to begin to gauge their own lives - an indicator of pitfalls to avoid and opportunities to take advantage of - a lifeline (in palmistry) to begin to evaluate their own in a projected sense and as it might relate to their parents'/grandparents' lives. The project might even bring the young generation closer to their parents/grandparents, and they (younger generation) might want to know more about them (parents/grandparents) and the older generation, generally.
Chambers regrets that he didn't get to know his parents better (see Jean Tom and Joe Tom). And he regrets that he didn't share in his son's childhood (see Father Tom). Maybe this is the main reason for "Tom Series", and he hopes this series will have universal appeal like his project, Mother's 45s had in 1990 (Gallery One, Providence, Rhode Island, USA) and 1992 (part of "Parents" exhibition at the Museum of Contemporary Art, Wright State University, Dayton, Ohio, USA). This project is about Chambers' mother, but as the viewer experiences "Mother's 45s", he/she is probably thinking about his/her mother as well.
Several images (with information) follow:
A satellite photo (courtesy of USGS, 2005) of Chambers' hometown (Nocona, Texas, U.S.A.):
is superimposed onto his face to indicate that he and his hometown are inseparable even though commonality has been lost over the years due to Chambers' living away and lifestyle. He attended first/fourth grades there with occasional visits during the summer season.
When he thinks of his hometown ... a small leather goods, cattle ranching, and farming community of about 3000 people ... he has fond memories, and he regrets that he hasn't visited more often. His grandparents, parents, brother and other family members are buried there, and he hopes this area will be his last resting place as well.
The classic Indian head TV test pattern is superimposed ... similar to war paint ... onto Chambers' face to indicate programming influence on his childhood and adolescence (1950s - 1960s). Chambers is a Baby Boomer ... born in 1947 ... and part of the first generation to be nurtured and entertained by the tube. The test pattern became an industry standard, and it was originally developed by RCA.
Chambers remembers his father ... and his grandfather ... grappling with the TV remote control that came out in the 1950s and the occasional arguing between his mother and father over which program to watch. He fondly remembers his mother having to sit in front of the television in the mornings and afternoons to watch her soap operas. And when his father came home after work, it was couch and TV time before and after dinner.
TV programs that Chambers grew up with in the 1950s and 1960s:
Chambers' brother's name and birth/death date are superimposed ... similar to etched stone ... onto his forehead, and his face is whitened to simulate a tombstone (death mask) to indicate his experience as a result of his brother's death in 1953. He died at birth, and a few days later, Chambers vaguely remembers peering into a tiny casket to see him. He does remember his mother, father and other family members visibly upset.
At the time, Chambers was six years old, and this was his first encounter with death. He has always said over the years that he was an only child, but underlying his comment has always been the fact that he had lost a brother. He always wonders who his brother would have grown up to be and what kind of relationship they would have had.
A reconnaissance photo (#5; completed SA-2 missile site showing characteristic Star of David pattern; courtesy of the Dino A. Brugioni Collection at The National Security Archive, The George Washington University) is superimposed onto Chambers' face to indicate the stressful nature of his experience in 1962 because of the Cuban Missile Crisis.
At the time and particularly on October 22 when President John F. Kennedy informed the world that the Soviet Union was building secret missile bases in Cuba, Chambers was living precariously close to missile silos in the Lincoln, Nebraska area (His father worked on the silos.) ... more than likely a prime target or at least it felt that way for him as a fifteen-year old.
The Thirteen Days (now a movie) of confrontation ... on the brink of a nuclear holocaust ... between America and the Soviet Union passed with the removal of the missiles from Cuba.
The logo of Chambers' alma mater, Austin High School (El Paso, Texas, U.S.A.) is blended into his face to cover his eyes similar to being "starry-eyed" ... naively idealistic ... in his age of youth and innocence as he went through the mechanics of studying various subjects during high school. He looks back on his cultural and social ignorance at the time, and he hopes that today's educational institutions are approaching their young participants in a more holistic fashion.
He does have fond memories of the pep rallies for the school's football team. The student body would turn out in force to cheer on the team ... one that was a powerhouse in the district. He had a desire to play, but he was too small within a student population of 3000 that contained a large pool of larger boys. So he settled on watching them play at home and sometimes away every Friday night. Chambers graduated in 1965.
A photo of the moon (courtesy of NASA) is superimposed onto Chambers' face to indicate his involvement with the Apollo Program at the Johnson Space Center in Houston, Texas (1969 - 1972). This was his second job out of college, and he participated in the historic research of the Lunar Fines (soil) as an analyst at the Lunar Receiving Laboratory.
Chambers was able to do what very few human beings have done ... literally touch the Moon by holding a Lunar Fines (soil) sample between his thumb and finger. He had followed the space program since Russia's launch of the first satellite ... Sputnik ... into space in October of 1957 and his country's consequent race to space with NASA's earlier programs, Mercury and Gemini.
Chambers has become more cosmic, perhaps, in the sense that today, he searches for extended meaning in his life experiences and his art.
http://tomrchambers.com/apollo.html
A camera lens is superimposed onto Chambers' right eye, and his face is grayscaled to indicate his exposure to the medium of photography in 1973 and his preference for black and white. This exposure via an encounter with a "hippie girl" ... as he calls her now ... was a turning point in his life. The relationship didn't last, but his desire to explore the medium of photography grew to the point where now, he is known internationally as a serious photographer and visual artist with numerous exhibitions to his credit.
He began with a Pentax (35mm film SLR), then changed to a couple of Nikon FE2s (35mm film SLRs) in 1983. He currently uses a Canon (digital EOS SLR), but still has these Nikon FE2s which have exposed thousands of negatives over the years. The lens used for the superimposition in the image is his Nikon 20mm which he used exclusively for his documentary portraiture work.
The Yin Yang symbol is blended into Chambers' face to indicate his continued interest in Taoism. He traveled to numerous Taoist Temples in China to learn more about this philosophy. At the center of Taoism is the concept of Tao, which is the natural order of things and cannot be explained since it exceeds senses, thoughts and imagination. It needs more meditation and contemplation and can be known only through mystical intuition.
Literally, Tao means 'the path' or 'the way'. Tao is the natural way of the universe, the driving power in nature, the order behind all life and the driving force behind all living things. It underlies everything and works beyond human logic. Taoists believe Tao is the origin of the universe and creates all living beings, thus they worship all life in the universe and everything else created by nature, thereby worship nature (Laotzu).
Kazimir Malevich's "Black Square" is superimposed onto Chambers' forehead to indicate his work with Suprematism. After retiring from teaching in 2013, he has devoted all of his time to working with the pixel as Suprematist/Minimalist Art and interpretations of Malevich's "Black Square". His "My Dear Malevich" project has received international acclaim, and it was shown as a part of the "Suprematism Infinity: Reflections, Interpretations, Explorations" exhibition in conjunction with the "100 Years of Suprematism" conference at the Atrium Gallery, Harriman Institute, Columbia University, New York City (2015).
He has over 100 exhibitions worldwide and numerous books about his photo and arts projects published on Amazon.com.
Comments:
Bruce Hanks, Manager, University of Winnipeg Instructional Network, Center for Teaching, Learning and Technology [CDDL], The University of Winnipeg (Canada):
"At a time when all known convention(s) are in a state of flux, globally we see issues of identity coming to the fore. People, cultures, countries, corporate branding - just about everything is struggling with identity. I see your work and see an artist who is not afraid of who he is and knows clearly where he stands. This is identity in your face. A well-articulated juxtaposition of the present image (portrait) with historical reference points/images that define(ed) who you have become. Although personal, your age and experience growing up in the 50's and 60's, and as such a member of the baby boom generation, is easily extrapolated to every other member of that generation. I see your hometown and I am in Bristol, England. I see the test pattern and somewhere in my files I have an Indian Head test pattern, etc. Your personal frankness and honesty allows for others to see themselves on a parallel path. This needs to be a traveling exhibit along with many others exploration of identity."
JD Jarvis, Art Critic/Artist and coauthor of Going Digital: The Practice and Vision of Digital Artists (ISBN 1-59200-918-2) (USA):
"Here's to a series that runs for many years yet to come."
Martin Mendelsberg, Designer/Typographer (Creator of Holocaust Portfolio.) (USA):
"Great work!"
Ricardo Baez-Duarte, Digital Photographer/Artist (Venezuela):
"This is a very interesting series. It invites the audience to think hard about the message. I like the technique, very original. Good!"
Hannah Gal, Digital Artist (UK):
"Striking!"
Larry Lemons, Photographer/Artist (Hometown [Nocona] friend) (USA):
"I found your Tom series fascinating, thought provoking, and reminiscent of some of my own personal experiences. I viewed each image and read all the captions to get a better understanding of not only the art project itself, but of you as a person, which I believe might have been a great part of your intent. While I do not share the Taoist philosophy that you seem to have embraced, I do believe that there is a better way to live than just working all week to accumulate money for more useless material possessions. I have staked my eternal destiny on the teachings of and my faith in Jesus, the Christ. I have neither read or heard of any other great master who was willing to lay down his innocent life for the sins of this world and then have the power to rise up from the grave in victory over death. Forgive me for preaching, but to not reply to that part of your project would be to deny my own personal faith, which I cannot do. I like your art and I do not take offense to it in any way, in spite of my own Christian commitment and desire to see others come to know Him (John 3:16). In fact, I am inspired by it. Please continue to share it with me."
Exhibitions:
(Hometown Tom, Tube Tom, Apple Tom, Photo Tom), The FACE (group show), Tolijatti State Art Museum, Russia, October - December, 2015.
(Hometown Tom, Tube Tom, Apple Tom, Photo Tom), The FACE (group show), Perm State Art Gallery, Russia, May - July, 2015.
(Tube Tom), The Selfie Show: An Art Exhibition of Self-portraits (group show), Museum of New Art, Troy, Michigan, U.S.A., May - June, 2015.
(Hometown Tom, Tube Tom, Apple Tom, Photo Tom), The FACE (group show), Villa Ichon, Bremen, Germany, November - December, 2014.
(Hometown Tom, Tube Tom, Apple Tom, Photo Tom), The FACE (group show), Samara State Art Museum, Russia, May - July, 2014.
(Hometown Tom, Tube Tom, Apple Tom, Photo Tom), The FACE (group show), SFA Galleries, Nacogdoches, Texas, U.S.A., September - October, 2013.
(Hometown Tom, Tube Tom, Apple Tom, Photo Tom), The FACE (group show), Photo Festival, Arezzo, Italy, September - October, 2012.
(Hometown Tom, Tube Tom, Apple Tom, Photo Tom), The FACE (group show), Manomentr Gallery, Moscow, Russia, February, 2012.
(Hometown Tom, Tube Tom, Apple Tom, Photo Tom), The FACE (group show), Eumeria Gallery, Tokyo, Japan, December 12 - 17, 2011.
(Hometown Tom, Tube Tom, Apple Tom, Photo Tom), The FACE (group show), Rosphoto Exhibition Centre for Photography, St. Petersburg, Russia, November 25 - December 1, 2011.
(Hometown Tom, Tube Tom, Apple Tom, Photo Tom), The FACE (group show), Gallery, American University of Paris, Paris, France, October 11 - November 7, 2011.
(Hometown Tom, Tube Tom, Apple Tom, Photo Tom), The FACE (group show), Metenkov Museum of photography, Ekaterinburg, Russia, August 17 - September 18, 2011.
(Hometown Tom, Tube Tom, Apple Tom, Photo Tom), The FACE (group show), Chelyabinsk Museum of arts, Chelyabinsk, Russia, July 5 - August 9, 2011.
(Hometown Tom, Tube Tom, Apple Tom, Photo Tom), The FACE (group show), Roba Gallery, Omsk, Russia, June 18 - July 6, 2011.
(Hometown Tom, Tube Tom, Apple Tom, Photo Tom), The FACE (group show), Krasnoyarsk cultural Museum Centre, Russia, March 31 - May 22, 2011.
(Hometown Tom, Tube Tom, Apple Tom, Photo Tom), The FACE (group show), Novosibirsk State Museum of Local History, Novosibirsk, Russia, February 16 - March 14, 2011.
(China Tom, Tao Tom, Hometown Tom, AHS Tom [instructor invitation]), SELF/SOUL (Joint Student Exhibition, Zhaoqing University and University of Louisville[Louisville, Kentucky, U.S.A.]) (group show), Fine Arts Department, Zhaoqing University, Zhaoqing, Guangdong Province, China, December 1 - 25, 2006
(China Tom, Tao Tom, Hometown Tom, Target Tom), Faculty Exhibition (group show), Fine Arts Department, Zhaoqing University, Zhaoqing, Guangdong Province, China, November 25 - December 1, 2006.
Installation examples of "Tom Series" in Russia as a part of "The Face: The Evolution of Portrait Photography" curated by Andrey Martynov:
Term paper on Tom R. Chambers (Art Appreciation for Honors; a 100-level, lower division class, where students have chosen an artist on the theme of interconnectivity, and analyzed a selection of works.) by Peter DeGroot, Art student of Dr. Leda Cempellin, Assistant Professor, History of Art, Department of Visual Arts, South Dakota State University, Brookings, South Dakota, U.S.A., 2009.
Poster:
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