Lionel Thomas Art
We Lost Steinway
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"We Lost Steinway" is a provocative visual lament.
Thomas abandons traditional representation, opting instead for a maelstrom of abstract forms that somehow coalesce into the vague silhouette of a hunched pianist. This figure, barely recognizable, seems to be melting into the vibrant purple void - a poignant metaphor for the perceived dissolution of Steinway's legacy.
The violent swirls of yellow and white that crown the figure evoke a halo gone haywire, perhaps symbolizing the chaotic aftermath of corporate upheaval. Sharp black strokes cut through the composition like discordant notes, jarring the viewer's eye much as the news of Steinway's acquisition may have jarred the music world.
Thomas's choice of a predominantly purple backdrop is particularly inspired. Purple, often associated with royalty, here takes on a mournful quality - as if we're witnessing the twilight of an empire. The hints of blue peeking through suggest a lingering hope, a faint echo of Steinway's former glory.
The bottom right corner, occupied by a blocky black mass, could be interpreted as the looming presence of a corporate takeover - a dark, featureless entity encroaching on the artistic realm. It's worth noting, however, that while Steinway was indeed acquired by a Chinese company (Zhongrou Investment) in 2013, it was later sold to a U.S. hedge fund in 2018.
This context adds layers of complexity to Thomas's already multifaceted work.
Thomas seems to be asking: What becomes of our cultural touchstones in an era of corporate musical chairs?
Can the soul of craftsmanship survive in a world driven by profit margins?
Paris - 2017
• 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
• Blank product sourced from the US, Canada, Europe, UK, or Australia
Thomas abandons traditional representation, opting instead for a maelstrom of abstract forms that somehow coalesce into the vague silhouette of a hunched pianist. This figure, barely recognizable, seems to be melting into the vibrant purple void - a poignant metaphor for the perceived dissolution of Steinway's legacy.
The violent swirls of yellow and white that crown the figure evoke a halo gone haywire, perhaps symbolizing the chaotic aftermath of corporate upheaval. Sharp black strokes cut through the composition like discordant notes, jarring the viewer's eye much as the news of Steinway's acquisition may have jarred the music world.
Thomas's choice of a predominantly purple backdrop is particularly inspired. Purple, often associated with royalty, here takes on a mournful quality - as if we're witnessing the twilight of an empire. The hints of blue peeking through suggest a lingering hope, a faint echo of Steinway's former glory.
The bottom right corner, occupied by a blocky black mass, could be interpreted as the looming presence of a corporate takeover - a dark, featureless entity encroaching on the artistic realm. It's worth noting, however, that while Steinway was indeed acquired by a Chinese company (Zhongrou Investment) in 2013, it was later sold to a U.S. hedge fund in 2018.
This context adds layers of complexity to Thomas's already multifaceted work.
Thomas seems to be asking: What becomes of our cultural touchstones in an era of corporate musical chairs?
Can the soul of craftsmanship survive in a world driven by profit margins?
Paris - 2017
• 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
• Blank product sourced from the US, Canada, Europe, UK, or Australia
