The Art of P. Seth Thompson
appropriation artist
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The Mystery of Simple images—Space Conversion of Photographic Images in Artificial IntelLigence Age

“The aim is to explore the expended significance and new aesthetic possibilities of photography as a kind of art after the intervention of new technology media, by researching complex relationship between ‘photographic art’ and ‘artificial intelligence era.’ In the process, the reading method of the traditional photographic art will change with the variation of the method with which the new reading medium is presented.”

Exhibition Dates: Oct. 15-25, 2018
Academy of Arts and Design of Tsinghua University, Beijing, China

If Art can start a new again

“…In this new effort to explore the new possibilities of artistic representation, the traditional graphic interpretation approach will change accordingly, together with the new media presentation. The destruction and reconstruction of the new graphic interpretation logic in the shooting process will undergo a series of exploration and experiments of moving from ‘graphic design’ photography to the “occupation of physical space” photography.”

Exhibition Dates: Nov. 15-Dec. 15, 2017
Oil pump plant Factory,Lishui City (Lishui, China)

Review: “The more I go over it, the more I see in it”: Zuckerman Museum of Art’s “Medium”

Thompson’s signature glitchy technicolor images depict the character Carol Anne Freeling from the 1982 film ‘Poltergeist,’ as well as a scene from television coverage of 18-month-old Jessica McClure being trapped in a well in her aunt’s backyard in October 1987. The Poltergeist image is a funny but apt inclusion in Medium, a brightly sour piece of candy amidst a sometimes-heavy meal, and a reminder of ghost stories’ campy genre descendants.

–Logan Lockner (ARTSATL, Oct 12, 2017)

review: “Insufficient Data for an Image” — P. Seth Thompson at Sandler Hudson Gallery

“Air Jordan and Al Jazeera meet Cronenberg’s ‘Videodrome’ in P. Seth Thompson’s solo exhibition ‘Insufficient Data for an Image’ at Sandler Hudson Gallery, on view through May 6. An intimate show of digital prints and a video, the work achieves enough variety while maintaining a consistent upbeat vibe of late ’80s throwback pixelated pop, shadowed slightly by a hint of social violence and voyeurism. Spending time here imparts a sense of Thompson’s creative ethos, evoking the seriousness of a cable news junkie yet also the snarky levity of a pop-culture historian.”

–Jeremy Abernathy (Burnaway, April 14, 2017)

Review: “WonderRoot’s Walthall fellows emphasize live encounters in ‘Portalism’ at MOCA GA”

“Seth Thompson’s symposium roundtable should be the model for all future artist’s talks. Instead of the standard spoon-fed explanation, articulate Thompson led a dynamic conversation on themes that inform his photographs — quantum physics, the problem of ‘truth’ in photography, childhood in 1980s America — without prescribing singular meaning to individual images.”

–Faith McClure (ARTSATL, Aug. 12, 2015)

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Creative Loafing, Cover, vol. 43, no. 28, November 2014

Review: “P. Seth Thompson indulges in and questions our hyperdigitized reality, at Sandler Hudson”

“Thompson’s titles endow many works with a conceptual weight, and they buttress others that would otherwise be less compelling. ‘In the Beginning It Is Always Dark,’ for instance, depicts two hands, layered with a neon circuit board texture, clasping in a dark void. This snippet from ‘The NeverEnding Story’ — which suggests Michelangelo’s creation image from the Sistine Chapel recast as a technological creation myth — is a visual one-liner. But its poetic title, which sounds both biblical and like something pulled from Carl Sagan’s ‘Cosmos,’ poeticizes the work within a greater cosmological context.”

Faith McClure (ARTSATL, Oct. 8, 2014

Review: “Through Alien Eyes: P. Seth Thompson at Sandler Hudson”

“Thompson’s films of choice often deal with shedding and overcoming illusions. But these works acknowledge that this process is a mixed blessing. The human perspective is tacitly that of the grown-up adult; children, like aliens, mermaids, and mythical creatures, are outsiders. As we become human and our childhood wishes and fantasies drain away, so too does our alien eyesight.”

–Dan Weiskopf (Burnaway, Sept. 25, 2014)

“P. SETH THOMPSON ‘photographs’ the blurred boundary between reality and fiction and the influence of American mass-media on our contemporary understanding of time, space and death. He digitally manipulates appropriated imagery from science fiction movies, home movies and news media, revealing a glittery, glowing world that is both strange and familiar.”

Stacia Yeapanis (OtherPeoplesPixels Blog, July 24, 2014)

Review: Art in America: “P. Seth Thompson at Poem 88”

…Each print takes as its starting point one or more readily available movie stills or images from the Internet. Thompson then processes, combines and reprocesses these images, using basic Photoshop filters and Final Cut effects. The results are eerie, lo-fi compositions that—like vague memories—seem both familiar and hard to make out.

–Cinque Hicks (Art In America, March 5, 2014)