Images

Thomas Chimes Locks Gallery

Jarry, 1978
oil on panel in artist made frame
9 1/8 x 8 1/2 inches

Thomas Chimes Locks Gallery

Andre Breton, 1977
oil on panel in artist made frame
9 1/4 x 10 3/8 inches

Thomas Chimes Locks Gallery

Rrose Selavy, 1976
oil on panel in artist made frame
14 5/8 x 12 1/2 inches

Thomas Chimes Ubu Locks Gallery

Ubu, 1976
oil on panel in artist made frame
15 1/4 x 14 1/2 inches

Thomas Chimes Locks Gallery

Bicentennial Jarry, 1976
oil on panel in artist made frame
13 x 13 inches

Thomas Chimes Locks Gallery

Robert Louis Stevenson, 1976
oil on panel in artist made frame
13 x 11 1/4 inches

Thomas Chimes Locks Gallery

Aubrey Beardsley, 1976
oil on panel in artist made frame
12 3/8 x 11 3/8 inches

Thomas Chimes Proust Locks Gallery

Mona, 1975-76
oil on panel in artist made frame
11 3/4 x 11 1/4 inches

Thomas Chimes Oscar Wilde Locks Gallery

Oscar Wilde, 1975
oil on panel in artist made frame
9 1/8 x 8 3/4 inches

Thomas Chimes Jarry Locks Gallery

Jarry, 1975
oil on panel in artist made frame
19 x 11 1/4 inches

Thomas Chimes Locks Gallery

Paul Verlaine, 1975
oil on panel in artist made frame
13 5/8 x 12 3/16 inches

Thomas Chimes Locks Gallery

Edgar Allen Poe, 1974
oil on panel in artist made frame
20 3/4 x 18 3/8 inches

Thomas Chimes Locks Gallery

James Joyce, 1974
oil on panel
17 1/8 x 14 3/8 inches

Thomas Chimes Locks Gallery

Lord Kelvin, 1974
oil on panel in artist made frame
26 x 21 1/2 inches

Thomas Chimes Locks Gallery

Guillaume Apollinaire, 1974
oil on panel in artist made frame
18 5/8 x 16 inches

Thomas Chimes Locks Gallery

Antonin Artaud, 1974
oil on panel
17 3/4 x 14 5/8 inches

Thomas Chimes Locks Gallery

Michael Faraday, 1973
oil on panel in artist made frame
29 x 22 7/8 inches

Thomas Chimes Locks Gallery

Alfred Jarry ("Departure from the Present" - Memory - Entropy), 1973
oil on panel in artist made frame
24 1/2 x 19 3/8 inches

Press Release

"All of his avant-garde artists are indeed what Goethe called "beautiful souls," sufficiently conflicted unconsciously to try to consciously create a strange new healing beauty. Chimes's portraits have caught the gist of this ironical beauty, and also the tension in which it originates. Jarry himself said that a genuine work of art, while conveying "the diversity of attributable meanings," avoids "obscurity, easy chaos." It has the "condensed simplicity [of] the diamond [made from] coal." This is a truly alchemical, gnostic idea of art: the transformation of black coal into luminous diamond nder great emotional pressure. Chimes's Old Master portraits are such diamonds, and like diamond they cut to the core of the seemingly material problem they address: how to make true, meaningful, exceptional art. The mystical white paintings show that Chimes knows how to do so on his own. He has become an autonomous Pataphysician– an authentic Hermes of the spirit as well as matter– a refiner of the dark fires of the unconscious into pure spiritual light. The transformations of the dark, brooding portraits into the abstract white paintings– the timely past into the timeless is a major feat of self-understanding as well as transcendence." 

-Donald Kuspit, excerpt from Paataphysician Redivivus, Locks Art Publications, 2001