Tom Gregg

Tom Gregg has lived in Kansas City since 1994 and works out of a studio space in the West Bottoms. He received his BFA from the Rhode Island School of Design and went on to earn his MFA from Yale University. He has spent time in artist’s residencies at both the MacDowell Colony in Peterborough, New Hampshire andat the Yaddo Colony in Saratoga Springs, New York. Tom has been the recipient of numerous awards and grants including an M-AAA/NEAVisual Arts Fellowship Award and a Charlotte Street Fund Award. His work has been shown extensively in the US, particularly in New York and Los Angeles. Tom’s paintings are in numerous collections, both public and private, including the Evansville Museum of Arts and Sciences, Evansville, IN, the Nerman Museum of Art, Overland Park, KS,  the Pfizer Corporation, New York, NY,  the Harvard Business School, Boston, MA, and the Federal Reserve Bank, Kansas City, MO.

Tom Gregg’s interest in still life painting stems from a fascination with objects and the way they share the world of people and yet remain independent, even indifferent, to our struggles and exertions. They maintain a steadfast otherness, an unknown quality, even a mystery in their mere existence. They acquire meaning through our world and yet are thoroughly and distinctly of their world, the world of things. Objects exist; simply, clearly, and profoundly. Still life as a subject matter offers a wealth of potential in terms of metaphor and narrative. Objects, placed upon a tabletop in the studio, are a bit like actors on a stage, in a visual drama. In pure painterly terms, the subject of still life provides me both with a wide range of formal elements to be explored and a unique ability to exert control over these experiments.

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“The process of painting for me is looking, marking, then looking again, and marking again, adjusting and changing, around and around, back and forth, repeating this process until I feel I have captured something meaningful or true to what it is I am seeing. This goes beyond representation or illusion and has more to do with the energy created by the visual relationships within the painting itself.  My hope is to construct a set of relationships within the work that are harmonious, while at the same time imbued with a hint of tension, so as to strike a very particular visual note. Each painting is an attempt to weave together a clear and convincing realism and a clear and charged formal construction, and in so doing, create a remarkable event out of the most ordinary of circumstances.”