NOAH S. THOMPSON
  • Arcadia
    • Odysseys (Ongoing)
      • Statement & Index
      • 390-86-81-476-76
      • 34-5-84-205
      • 101 N-20
      • 20-101 N
      • NE 193-50-895-95-76
    • Prophecies (2020)
    • Memories (2018-2019)
  • Cyanotype
    • Garden of Chaos and Mystic Truths (2020)
      • Statement
      • Mirages
      • Passages
      • Shades
    • Microcosmic (2016-2017)
    • Artifacts In the Waters of Time (2017)
    • The Polari Gang/The Code (2016)
    • Feeling Blue (2016)
  • General Projects
    • ABCs of Romanticism (2020)
    • Incorporeality (2018-2020)
    • Polaroid (2017-2020)
    • Cities of Ash (2018-2019)
    • Analog (2017-2019)
    • Phantom Space (2017-2018)
      • Flux Space (2017-2018)
      • The Carlisle Dairy (2018)
      • Eastern State Penitentiary (2018)
    • Pinhole (2017)
  • About
  • CV
  • Arcadia
    • Odysseys (Ongoing)
      • Statement & Index
      • 390-86-81-476-76
      • 34-5-84-205
      • 101 N-20
      • 20-101 N
      • NE 193-50-895-95-76
    • Prophecies (2020)
    • Memories (2018-2019)
  • Cyanotype
    • Garden of Chaos and Mystic Truths (2020)
      • Statement
      • Mirages
      • Passages
      • Shades
    • Microcosmic (2016-2017)
    • Artifacts In the Waters of Time (2017)
    • The Polari Gang/The Code (2016)
    • Feeling Blue (2016)
  • General Projects
    • ABCs of Romanticism (2020)
    • Incorporeality (2018-2020)
    • Polaroid (2017-2020)
    • Cities of Ash (2018-2019)
    • Analog (2017-2019)
    • Phantom Space (2017-2018)
      • Flux Space (2017-2018)
      • The Carlisle Dairy (2018)
      • Eastern State Penitentiary (2018)
    • Pinhole (2017)
  • About
  • CV
During the COVID-19 Pandemic I have spent a lot of time reflecting on my art and the direction I want to take it in, which includes identifying the key concepts or “rules” that I want to follow for future projects, and most important, what on earth interests me. As I delved deeper into my studies on Romanticism, I found myself struggling to find ways to clearly illustrate and incorporate concepts of the period into my work. While browsing artists of the late 19th century I came across the illustrations and posters of The Beggarstaffs, a pseudonym used by William Nicholson and James Pryde. As the Beggarstaffs, William created an ABCs series with illustrations such as “D is for Dandy,” “F is for Flower Girl.” and “X is for Xylographer.” It then occurred to me that I could create my own "ABCs of Romanticism" series to identify some of the primary figures and movements of the period, as well as some that pertained more to my own interests. This is by no means a completely thorough series that encapsulates the entirety of Romanticism, but it does draw attention to the triumphs and tragedies of the period. Each letter takes from photographs, prints, drawings, and paintings of the 19th century, creating miniature zeitgeists within each image. From A to Z these concepts are both alive and antique, relics of the past that have established long-term effects both good and bad, showing that Romance, in many aspects, is not a thing of the past.

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  • Arcadia
    • Odysseys (Ongoing)
      • Statement & Index
      • 390-86-81-476-76
      • 34-5-84-205
      • 101 N-20
      • 20-101 N
      • NE 193-50-895-95-76
    • Prophecies (2020)
    • Memories (2018-2019)
  • Cyanotype
    • Garden of Chaos and Mystic Truths (2020)
      • Statement
      • Mirages
      • Passages
      • Shades
    • Microcosmic (2016-2017)
    • Artifacts In the Waters of Time (2017)
    • The Polari Gang/The Code (2016)
    • Feeling Blue (2016)
  • General Projects
    • ABCs of Romanticism (2020)
    • Incorporeality (2018-2020)
    • Polaroid (2017-2020)
    • Cities of Ash (2018-2019)
    • Analog (2017-2019)
    • Phantom Space (2017-2018)
      • Flux Space (2017-2018)
      • The Carlisle Dairy (2018)
      • Eastern State Penitentiary (2018)
    • Pinhole (2017)
  • About
  • CV