Lionel Thomas Art
Quarter To Two
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$1,400.00 USD
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In "Quarter to Two," Lionel Thomas delivers a frenetic and surreal narrative through a visual jazz of angular forms, erratic movement, and bold contrasts. The painting tells the story of a saxophonist lost in a late-night rehearsal, teetering on the edge of domestic chaos. The setting is an odd dreamscape where reality warps under the tension of sound and sleep deprivation.
The central figures—both the musician and his furious wife—are exaggerated, bordering on caricature, evoking a kind of playful absurdity. The saxophone, with its glowing orange hue and almost serpentine curves, dominates the canvas, mirroring the protagonist's obsessive connection to his music. It’s as though the instrument has a life of its own, growing and warping in defiance of his surroundings, much to the frustration of his sleepwalking partner. Her figure, caught between reality and delirium, threatening to eject both the man and his beloved sax from the scene.
Thomas’s signature use of loose line work and bold color blocking creates a disjointed energy, embodying the night’s tension and the delirium that comes with a "quarter to two" mindset. The rhythmic repetition of red, black, and yellow cuts through the chaos, leading the eye in unpredictable directions, almost like a syncopated jazz riff. His wife, draped in black and marked by geometric shapes, seems to embody a force of frustration, while the saxophonist, lounging as if unaffected, merges into the dreamscape—detached and engrossed in the sound he’s creating.
What’s particularly striking about this piece is how Thomas transforms a mundane domestic squabble into a moment of high art, humor, and abstraction. The wife's exaggerated frustration, the absurd multiplication of the saxophones, and the fractured background suggest a narrative at the edge of both reason and dream. It’s as if the domestic world bends to accommodate the musician’s obsession. Each corner of the painting swelling with the late-night sounds of improvisation.
The painting pulls us into the humor and madness of obsession, and how art—be it music or painting—inevitably disrupts the ordinary. "Quarter to Two" is not just about a saxophonist annoying his wife; it’s about the timeless clash between creation and domesticity, sleep and art, where the lines between dream and reality blur with each passing note.
Paris - 2018
• 1.25″ (3.18 cm) thick poly-cotton blend canvas
• Canvas fabric weight: 10.15 +/- 0.74 oz./yd.² (344 g/m² +/- 25g/m²)
• Fade-resistant
• Hand-stretched over solid wood stretcher bars
• Mounting brackets included
The central figures—both the musician and his furious wife—are exaggerated, bordering on caricature, evoking a kind of playful absurdity. The saxophone, with its glowing orange hue and almost serpentine curves, dominates the canvas, mirroring the protagonist's obsessive connection to his music. It’s as though the instrument has a life of its own, growing and warping in defiance of his surroundings, much to the frustration of his sleepwalking partner. Her figure, caught between reality and delirium, threatening to eject both the man and his beloved sax from the scene.
Thomas’s signature use of loose line work and bold color blocking creates a disjointed energy, embodying the night’s tension and the delirium that comes with a "quarter to two" mindset. The rhythmic repetition of red, black, and yellow cuts through the chaos, leading the eye in unpredictable directions, almost like a syncopated jazz riff. His wife, draped in black and marked by geometric shapes, seems to embody a force of frustration, while the saxophonist, lounging as if unaffected, merges into the dreamscape—detached and engrossed in the sound he’s creating.
What’s particularly striking about this piece is how Thomas transforms a mundane domestic squabble into a moment of high art, humor, and abstraction. The wife's exaggerated frustration, the absurd multiplication of the saxophones, and the fractured background suggest a narrative at the edge of both reason and dream. It’s as if the domestic world bends to accommodate the musician’s obsession. Each corner of the painting swelling with the late-night sounds of improvisation.
The painting pulls us into the humor and madness of obsession, and how art—be it music or painting—inevitably disrupts the ordinary. "Quarter to Two" is not just about a saxophonist annoying his wife; it’s about the timeless clash between creation and domesticity, sleep and art, where the lines between dream and reality blur with each passing note.
Paris - 2018
• 1.25″ (3.18 cm) thick poly-cotton blend canvas
• Canvas fabric weight: 10.15 +/- 0.74 oz./yd.² (344 g/m² +/- 25g/m²)
• Fade-resistant
• Hand-stretched over solid wood stretcher bars
• Mounting brackets included
