Tom Inglis Hall is an artist working out of the US city of Syracuse, New York, where he recently moved to from England. Tom graduated from the Wimbledon School of Art in 1994 with a degree in sculpture and subsequently completed an MA at the Royal College of Art in 1998. His work has been exhibited in national and international shows since 1994, including exhibitions at Trinity Buoy Wharf, London; Les Tombées de la Nuit arts festival in Rennes, France; Crawford School of Art, Cork, Republic of Ireland and commissions for Bournemouth Arts By The Sea Festival, and a large roundabout for Eastbourne council.
‘The works deal with the awkwardness of grow up, or rather, cling onto that part of childhood that allows me to connect freely. Materially it is about being a boy and playing, but with the knowledge or perhaps the cynicism of age and awareness of the complexities of our mixed up world, dealing with issues that are not always as straightforward as one may desire them to be.’
Tom’s work is often big and theatrical; golden boy racers or full reconstructions of historic spaces, oversized gilded guns and childhood aeroplanes. They are immediately engaging, entertaining you through scale and making skills, as cardboard is transformed and the work transporting you into other worlds. However there is something disturbing underneath. Most work balances between the uncertainties of the future and history. The latter always being the mirror for the former. There appears to be a celebration on the surface however the uncertainties of how to move forward emerge as the viewer engages with the works.
Education And Qualifications
|2007||Fellow of the Higher Education Academy, PGCE||UCCA|
|1996–98||Sculpture MA||Royal College of Art, London|
|1991–94||BA (Hons) Sculpture First Class||Wimbledon School of Art|
|1990–91||Arts Foundation||Brighton Polytechnic|
|2016||It Could Be Paradise But It’s Only California||914Works, 914 East Genesee St, Syracuse, NY|
|Tom Hall has taken on the role of frontiersman to immerse himself into a new wild world. He points to the false romantic past propagated by Roosevelt takes a fresh look at the American myth.|
|2015||The Fall of Disco Mickey||Stone Quarry Art Park, Cazenovia, NY|
|A giant mirror-ball Mickey Mouse figure lies half buried and abandoned but still holds his concrete smile. The mirrored surface reflects the ever-changing cultural world around him; a last gasp byproduct of his edifying iconic status at the point of being forgotten|
|2015||In Transit||Villa Favard – Florence, Italy|
|The building of In Transit a collaborative work between the designer and fashion thinker Tony Bednall and the artist Tom Hall“The jacket, left discarded, a monument to the day to day, dressed up or dressed down, a victim or an agitator; a uniform or symbol of non-conformity. Who is the owner? Why is it here?”|
|2014||An Awkward Proposition||Les Tombées de la Nuit, Rennes International Arts Festival, commission, France|
|‘This was an exploration of the difficulties of performance. It questioned performative states through political, social and historical indicators either directly or indirectly.’|
|2013||Midnight||artSUOTH, commission, High Down Rocket Test Facility, Isle of Wight|
|‘The project re-imagines the British space program test site in the fifties in the grips of the cold war when the predictive ‘Doomsday Clock’ was set at its closest to midnight.’|
|2012||Boy Racer||Art By The Sea Side – Bournemouth Arts Festival|
|Selected Group Exhibitions
|2016||Hand Made||Apostrophe’s Gallery 1100 Oak St, Syracuse|
|Hand made can refer to a connection between the artists in how the work is ‘materially constructed’ but also in their references of where works may have been made|
|2013||Chasing Sputnik||Quay Arts, Isle of Wight|
|‘My activity investigates the old space test site on the Isle of Wight. We are researching a visual language to discuss and engage the public in less glamorous ‘near history’ sites which don’t have the normal lexicon of romantic National Trust reconstruction. Engagement will be through exhibition and publication. Supported through Arts Council Grant for the Arts.’ chasingsputnik.com/|
|2011||Lead Artist, Urban Fabric 2||Paradox, Crawford School of Art, Cork, Republic of Ireland.|
|Neon||Bournemouth ‘By The Sea’ arts festival|
|2010||I’m the Golden Gun||Wayne Hemmingway beach pods, Boscombe|
|2009||Borderlands – Text+work||Arts University Bournemouth. Texts from;Brown – University of the Arts London Wimbledon and L. McKinnon – Solent University|
|2007||Meeting Place||Russell Coates Museum, Bournemouth|
Commissions and Residencies
|2015||The Fall Of Disco Mickey - Residency||Stone Quarry Art Park Residency|
|2013||Midnight – commission||artSUOTH, commission, Isle of Wight|
|2012||Boy Racer – commission||Art By The Sea Side – Bournemouth Arts Festival|
|2004–05||Holt Forest Project – Residency||Holt Forest, Dorset|
|2003–04||National Gallery educationalartist in residencies||London(Funded by Deutsche Bank)|
|2002||Short listed for residency||Sunderland School of Art Sculpture|
|1999||Short listed for public sculpture||Millennium Dome site, London|
|1997–98||HERD||Marshall Roundabout, Eastbourne|
Awards, Publications, Public Talks
I am Am Immigrant – Artist talk focusing on aspects of role-play within Tom Halls practice.
Boîte-en-Valise, Syracuse – International discussion on the Boîte-en-Valise project. Point of contact Gallery, Syracuse, NY
Boîte-en-Valise, Generator – Artists talk and workshops developing ideas around Boite-en-Valise Venice Biennale projects. Aspex Gallery, Portsmouth, UK
Concrete Historys – a talk and discussion around memories of a rocket man in the creation of Midnight by the artist Tom Hall. Memory Works, Fisher Centre, NYC, May 2016.
Chasing Sputnik by Tom Hall (Nov 2013) chasingsputnik.com/the-book/
Meeting Place: Contemporary Art and the Museum Collection (Text + Work) by Stephanie James and Les Buckingham Sep 2007.
Research Fellowship Arts University Bournemouth 2012-13
Current Professional Practice And Research:
Waste Ground is an exploration of the future through the dissection of the past. It uses the discursive histories of two artists Tom Hall and Simón Granell as if they were the physical material of production; a favorite childhood book or place remembered, defining the structures of current thinking. These are not worthy and academic references but a mixture of recalled and misremembered sources. Both personal and political, truth and fiction coexist, to be excavated by the viewer. It explores the base relationship between their practice and their friendship through the manufacture, destruction and materialization of memories and objects from their differing pasts, brought back together through a presentation of waste or residue.