These are original Digital Archive Pigment Prints signed editioned (a limited edition of 25) just below the print in the traditional manner. They are available for purchase at £100.00 each unframed (portrait H: 27 x W: 18.5 cm | H: 10.63 x W: 7.28 inches circa, landscape H: 18 x W: 27.5 cm | H: 7.08 x W: 10.82 inches circa) the paper sizes 40 x 30 cm (15.75 x 11.81 in) it doesn’t matter wither they may be portrait or landscape (the paper is Somerset).
It may take about two weeks for dispatch (they will delivered in a postal tube).


In Thomson’s works in print we detect a direct correlation between his painting and sculpture – a love of manipulating the materials that he is presented with. A true ‘truth to materials’ man. His ideas may seem somewhat limited to some with his heads and landscapes but they present particular problems to solve, nevertheless, they are more than mere illustration. He says, ‘they’re just things to hang ideas on’. Perhaps I can write down in words what he finds difficult to express verbally: they are not symbols or fetishes that are to be imbued with higher ideals, simply they are exercises in colour and texture that are to be appreciated for themselves. They are images, not symbolic icons that one can hook religious or ideological feelings on – they are images of humanity and nature. ‘The thing is,’ he says, ‘you cannot stifle other people’s imagination’.

Furthermore, I’ll use my own words here, he is dealing with a maturity in his prints that is not apparent in his earlier works, perhaps he feels freer to make mistakes or make different versions to achieve his aims. Maybe an earlier version could be more successful with, for example, a simpler rendition of colour. A step further in his confidence? – maybe…

However, I must say something technical about his latest departure into prints. By looking into his computer one can see the various stages a print develops from the original files, some drawn and painted with a particular type of software, some scanned; layering them and manipulating them with varied masks and blends.

As I’ve said before, the difficulty with Thomson’s work is that people seem to look for what is not there – see for what it is: a tour de force in image making.

Dan Mungan