Stacy and Len Thomas-Vickory
Uncivilized
Stacy Thomas-Vickory
01. Antler Drop 3, 2021, graphite, 22 x 30 inches, $1000.00
02. Antler Cache, 2022, graphite, 22 x 30 inches, $1000.00
03. Antler Drop 2, 2021, graphite, 30 x 22 inches, $1000.00
04. Rise, 2021, graphite, 22 x 30 inches, $1200.00
05. Charge, 2021, graphite, 30 x 22 inches, $1200.00
06. Grasp, 2022, graphite, 22 x 30 inches, $1200.00
Len Thomas-Vickory
07. BAOOGA!, 2021, lithograph, 23 x 11 inches, $350.00
Stacy Thomas-Vickory
08. Antler Drop 1, 2021, graphite, 30 x 22 inches, $1200.00
Len Thomas-Vickory
09. Suburbanauts on Acid, 2021, lithograph, 8 x 22 inches, $450.00
10. It Was A Tourist Thing, 2021, lithograph, 22 x 20 inches, $450.00
11. Breach the Beach, 2022, lithograph, 22 x 15 inches, $450.00
12. Puppet Fight, 2021, lithograph, 9 x 12 inches, $250.00
13. Shitty Song of The Prairie, 2022, lithograph, 11 x 15 inches, $275.00
14. The Big Fucking Dipper, 2021, lithograph, 25 x 18 inches, $450.00
15. Kaiju Container Ship, 2021, lithograph, 15 x 22 inches, $350.00
16. Seekers of the Edge, 2021, lithograph, 22 x 15 inches, $350.00
17. Folding Space, 2021, lithograph, 22 x 15 inches, $350.00
18. Terraforming Mars the Hard Way, 2022, lithograph and tape embossment, 15 x 18 inches, $350.00
19. Bursted Busted, 2021, dry pigments, polycrylic, tiny trees, vinyl flooring, housing foam, 11 x 8 x 9 inches, $300.00
20. Chernobyl Daze, 2021, aluminum, dry pigments, polycrylic, tiny trees, vinyl flooring, housing foam, 8 x 11 x 11 inches, $300.00
21. It Came Across the Horizon, 2021, dry pigments, polycrilic, tiny trees, vinyl flooring, housing foam, 9.5 x 8 x 6.5 inches, $300.00
22. Nope. Ain’t No Jesus in There, 2021, lithograph, 22 x 15 inches, $450.00
23. And Again, Then Repeat, 2021, lithograph, 18 x 13 inches, $350.00
24. We Are The Things That Do Not Sleep, 2021, lithograph, 16.5 x 11 inches, $350.00
25. 1(800) Q00-1984, 2021, conté crayon, 22 x 19 inches, $500.00
26. Holy Shit Niigata, Is That You?, 2021, lithograph, 22 x 26 inches, $450.00
Stacy Thomas-Vickory
27. Prairie Fire 2, 2021, graphite, red oxide pigment, colored pencil, 30 x 22 inches, $1000.00
28. Prairie Smoke 1, 2020, graphite, colored pencil, 30 x 22 inches, $1000.00
29. Prairie Smoke 2, 2020, graphite, colored pencil, 30 x 22 inches, $1000.00
Len Thomas-Vickory
30. The Mobile Home Transporter Incident, 2021, dry pigments, polycrylic, tiny trees, vinyl flooring,
housing foam, 10.5 x 7 x 8.5 inches, $300.00
31. Evening Moss Sweeping, 2022, charcoal, conté crayon, mixed media, 30 x 22 inches, $300.00
32. Printing the Geysers of Enceladus, 2022, conté crayon, 30 x 22 inches, $500.00
33. Quantifying the Remains of Babel, 2021, conté crayon, 19 x 22.5 inches, $500.00
34. Geeks at the Abyss, 2021, conté crayon, 19.5 x 25.5 inches, $500.00
35. The Power Turns Me On, 2021, conté crayon, charcoal, spray paint, 28 x 25 inches, $500.00
Thoughts on Being Uncivilized
Stacy Thomas-Vickory
January 2022
I quit the newscast more times than I can count in this six, seven year deluge of difficult news. How many years? Maybe it is a decade, maybe it has always been. It is time for a retreat to the woods, to the studio, to the ocean - somewhere I am not followed by the latest cacophony of assaults on the land, on the people, on and on and on. In the quiet, my thoughts peek back around the wall of my mind, one, two. I hear them now, whispering of age-old conflicts between, among humankind. There is an eternity of strife that haunts us. Walking in the land, gathering rocks, antlers, roots, seeds, remnants of the rhythm of life, of death, of change. I head to the studio to record these relics in carbon, in graphite, to better understand power struggles between men and women, between civilization and land. How should we see this? How can we not? I raise the antlers. I raise my graphite. I understand it better now.
The Current Work
Len Thomas-Vickory
January 2022
“There’s always a lot of flaws in my work. There’s a lot of things that rub up against each other in grating ways, which can be beautifully grating, but also there’s a lot of happy accidents and mistakes I keep in. Often when I’m finished with a project I’ll see flaws in it… even with things like printing, which you would think, after thousands of years, the technology would be more refined, or even perfected. But there’s always something that happens wrong. Often when I’ve mastered something, which is a very harrowing process I find, I’ll think “Well, if I have to do this again I’ll have to change this little bit in the mix” or something. “
J.G. Thirlwell
This is the work started just prior to lockdown. In that unprecedented moment, new concepts and experimentation started. Simply put, these drawings and lithographs are documenting what is going on in the world. From fear mongering, to the Orwellian use of 2+2=5, to the weird snake-oil-salesman-dystopia we are now dwelling in, all of this is being documented in this work. When I reference documentation, I also mean research. Sometimes, through this research, it was pretty simple to confirm my thoughts and views. Other times, the research brought me to some very icky places. For instance, I got an introduction to post truth theory. Blah!
My current artwork comprises two sides of the same coin. One side is Prometheus, the other is Sisyphus. The Unfolk works are looking at particular events of the past two years and are questioning them from a very sober point of view. More so, putting them on the boiler plate to see what comes up. The Unfolk reflect this Prometheus side of the coin. The Sisyphus side is the Suburbanauts on Acid. This side of the coin is looking at the pandemic from the lens of an acid trip. Not the psychedelic version most people think of, but the sheer weird randomness of it all. They are often found performing ridiculous tasks in the effort to improve the day.
Comic books, film and music are the biggest influences on me. Jack Kirby, Grant Morrison, Albert Camus and Irvine Welsh come to mind very quickly. Just as important though are musicians such as J.G. Thirlwell, Blixa Bargeld, Siouxsie and Budgie. I am fascinated by how all of these artists have moved their work into different venues, methodologies and ideas of how they can be manipulated further.
Here: Ickyawkwardsnarkyironicfrumpyhumorous. That is the best way I can describe this work. What I do know is this: I have been having a ton of fun with the experience making this work; mostly. And I look forward to seeing where these little worlds of The Unfolk and the Suburbanauts on Acid goes.