NEWS April 2024

Thomas Lisle's work was selected for large-screen projections at the Paris Olympics 2024 opening event at the Olympia venue in Paris.

Two new important collections of his time-based paintings have been released this week to coincide with Digital Art Week London with Niio and Seditionart. You can see "Time and paint wait for none" 4 new time based paintings 4K

watch  HERE

"Fun with space and time" 4 new time based paintings 4K

watch  HERE

About Thomas Lisle

Thomas Lisle is at the forefront of a new artistic frontier, pioneering methods that push the boundaries of contemporary painting in abstraction, expression, and narrative. His groundbreaking work in digital 3D time-based painting is a testament to his innovative spirit and his commitment to advancing contemporary painting.

Thomas Lisle's digital time-based paintings are not a new art form, simply an advance and exploration of painting in the digital age. Lisle's paintings are breaking down the barriers of traditional painting, transcending the limitations of our physical universe, and ushering in a new era of artistic expression. His work is about process, visual compositions and events/narratives in paint. His work references contemporary painting, his interest in psychology and philosophy and the limitless possibilities of the virtual world to create a visual poetry uniquely suited for the digital age. Lisle wants to transform the way we view, perceive, and create contemporary painting.

Lisle thinks that painting's evolution cannot stay still; like everything, it needs to adapt to the times. For him, it's a necessity. This means adapting painting to digital animation, three dimensions, digital simulations, and the ever-present internet and screen geared around time-based art. Thomas Lisle's work shows us what painting and sculpture can be in the digital world, as his work is basically 3D painting. His work is not generative or, in other words, made with code alone and modified by randomness; it's not scanned, it's not made with AI, it's not made with glitches and technical errors; it's purposefully, consciously made with a paintbrush and virtual paint, and then composed over time. Lisle has experimented with similar techniques to generative art and agrees that mathematics can produce beautiful images/effects; however, Lisle is interested in human expression.

With painting, there is that fundamental hand-to-eye relationship that shows the human behind the art. Painting is a human consciousness to human consciousness link, which is built in most humans. It is the all-important connection between artist and viewer, which has sustained painting through the ages. Lisle paints in real time, then animates and edits the paintbrush and the paint digitally, using a wide range of techniques to program and control what the viewer sees. He can work and utilise forces and manipulate perceived reality in ways that are impossible in the real world to make new kinds of abstraction. Watching a painter paint is not a good way of envisaging the process because Lisle orchestrates the events more like a conductor or composer of a piece of music than a painter working towards a static result.

Lisle grew up in the heady art world of Leeds in the 60s and 70s. His art makes a conscious effort not to be too concerned with the past; it recognises that there are some fundamental aspects of pictorial composition and visual languages which are fundamental to painting that can't be forgotten, but intrinsically, his painting is about the now and the future, the age we live in, and the possibilities of expression and abstraction in a 3D environment where painting, is sculpture and where time and the laws of physics can all be controlled and manipulated.

Lisle became interested in visual abstraction and languages from a very early age; he says he knew he didn't understand it (for many years, in fact), but he thought that figurative and non-figurative abstract art was where it was at from the age of 7 or 8.

When he got to art college, and after going through a punk rock phase in the late 1970s, he rebelled against traditional means of painterly abstraction and developed a video technology-based "glitch" art method of abstraction, making art which looked like a painting (but wasn't painted), and that was time-based. Importantly, it was of the time and had an anarchic, rebellious nature to it. Realising that traditional painting had reached, in some respects, some technological/cultural limits, Lisle wanted to make images that were of the times. Looking at this body of "glitch" work today, it's easy to think it was made digitally recently, not 40 years ago.

This body of glitch art by Lisle, which has recently been digitised, shows Lisle's interest in abstract visual forms and languages, abstract figurative work, composition, and colour and demonstrates to him that the possibilities of abstraction could be expanded by technology.

At college, Lisle developed his glitch art into slide-projected installations. After leaving college, Lisle developed these installations into kinetic projections with up to 30 projectors for large museum pieces that were shown around the UK. But he started to realise that "glitch" art was limited and random and that he wasn't really in control. He couldn't edit the glitches. He couldn't change them; they were impersonal, and yes, he could use his eye to select and guide, but at the end of the day, the abstraction wasn't from him but some interference in the video signal. They didn't offer what painting could offer, in other words, 'plasticity', but painting didn't offer what time-based and contemporary technology glitches offered, time-based and fundamentally new types of abstraction, and so he realised that digital 3D animations would hold the answers and set out to learn about it.

He soon realised that the learning curve to make sophisticated 3D animations was steep. It has taken over 30 years of intense experimentation and research to get to the liquid simulations and time-based paintings he is making now. Lisle started to develop digital 3D paint-derived figurative and non-figurative abstractions. These have developed into new ways of thinking about form in 3D, as well as how painting in time is fundamentally different to static paintings. Lisle has also pioneered the concept of developing a still painting in a 3D digital form, which becomes the basis for a physical oil on canvas painting. He would agree that there are many special qualities about a physical painting; the evidence of the process and the artist's mark-making are important factors which time-based digital painting cannot replicate in the same way.

Lisle's interest in time-based painting is partly based on the narrative that is created when paint is animated, together with the dynamism of a time-based brush stroke and the dynamism of constantly evolving compositions. The world is time-based and three-dimensional; thinking and experience are time-based, and as Lisle's interest in psychology and philosophy developed, he found that his reactions and understanding of psychological processes and concepts started to become part of his paintings.

On another level, Lisle loves paintings from the Fauves and early German expressionists to present-day painters like Albert Oehlen. He loves colour and light. He is fascinated by composition and now how composition changes and develops a narrative that in itself is a powerful means of expression.
Lisle's current paintings are the first to use only simulated paint; the journey for digital time-based painting has only just started.

NEWS 2023

Oct 2023 "Digital art, time, painting, sculpture and consciousness"

An essay on digital 3D time-based painting and it's differences in approach to art, in terms of the conscious and personal as opposed to art made by AI, Generative or Glitch technology, (which seems impersonal and not consciously made). And a critique of 3D time-based paintings metaplasticism possibilities and it's metamodernist foundation.


2023 "Something stirs" new collection of time based paintings on Niio.

Click here to see the collection "Something stirs"

2023 "Lines unleashed and hacked clouds" digital 3D paintings and animations new collection on Sedition

Click here to see the collection "Lines unleashed and hacked clouds" Click here for the interview

2023 IMAGE PLAY - International Video Art Festival Portugal 6 videos selected

2023 "Lines unleashed and hacked clouds" digital 3D paintings and animations new collection on Sedition

Click here to see the collection "Lines unleashed and hacked clouds" Click here for the interview

2023 "Love's Journey" digital 3D animations and paintings
Winner Mannheim Arts and Film festival, selected for these festival "Matadac" Spain, "File" Brazil, "Surrealist manifesto" and "Video Art and Experimental Film Festival" New York, New York Honorable mention, "Dumbo Film Festival NY" Semi Finalist

Click here see "Love's Journey"

2023 "Noonssup" digital 3D animations shown at Maison & Objet 2023

"The colour of feeling" 5 new digital 3D paintings on Sedition Art December 2022

"New forms and plasticity" 4 new digital 3d paintings on Niio December 2022

"Collection of half's" new NFTs on FoundationApp

Interview 2021 Beth Jochim