"One of the most inventive British artists working today."
- Dr James Fox, British art historian and broadcaster

NAPERVILLE, IL / ACCESS Newswire / September 17, 2025 / The Poetics of Juxtaposition in Tom GlynnTo stand before a work by Tom Glynn is to enter a world where the material and the mythical coalesce; where painterly abstraction converses with the physical memory of a landscape shaped by both time and touch. His art resists simple categorisation, moving freely between painting and sculpture, between object and idea. Drawing on a legacy of surrealist juxtaposition and Dada's paradoxical playfulness, Glynn's practice reshapes our relationship with the very landscapes we thought we knew.

Drawing from found materials and emotional ephemera, Glynn constructs forms that appear simultaneously ancient and contemporary. There is a clear intelligence in how he layers gesture and texture; a painter's mark here, a monolithic silhouette there; each suggesting a fragment of a larger narrative caught in the slipstream of memory. Whether in his tactile assemblages or chromatic studies of the British countryside, Glynn's work elicits a visceral response to place, time, and matter.

His latest series, Castle on the Hill, exemplifies this ethos. These are not simply landscape interpretations; they are, in a sense, excavations of the spirit embedded in the land. In the piece Oatfields, for instance, earth-toned textures collide with the vivacity of acrylics to produce a canvas that feels as much like a remembered walk as it does a visual artefact. The viewer is invited not merely to look, but to feel; to consider the glances, thoughts, and invisible residue of lived experiences.

Tom Glynn has established a notable voice in British art, yet his work maintains the sincerity and edge of someone still profoundly engaged with the act of creation. His Sussex studio, a crucible of coastal light and ancient echoes, is where ideas form slowly and deliberately, like tides shaping stone. Glynn harnesses the chaos of juxtaposed materials with a sense of purpose, each composition an invitation to pause, reflect, and reimagine.

In the lineage of Britain's contemporary visual artists, Glynn stands as a quietly radical figure. He is not seeking spectacle, but rather a truth; however, layered, abstract, or poetic it may appear. In an age often obsessed with immediacy, his work offers a compelling argument for complexity, ambiguity, and the enduring beauty of form.

Early Career and the Northern Young Contemporaries, 1975

Glynn's emergence onto the UK art scene began notably with his participation in the Northern Young Contemporaries Exhibition at Whitworth Art Gallery, Manchester, in 1975. He exhibited two towering totemic columns constructed entirely from scrap wood and repurposed furniture. One titled Red Rhino Form and the other Chico, both took their names from found printed fragments - a practice reminiscent of Nevelson's naming and typographic incorporations.

His participation aligned with a movement that connected emerging UK artists to broader experimental movements, including the later Pop Art wave introduced by contemporaries like Hockney.

Discover the world of Tom Glynn Fine Art at tomglynnfineart.com, where landscapes transcend into abstraction and creativity takes form across paintings, assemblages, and sculptures. The gallery offers a window into Glynn's unique vision, inviting visitors to experience the poetics of juxtaposition that define his work. Whether you're drawn to bold compositions or subtle layers of meaning, his online gallery is a destination for art lovers seeking depth, balance, and imagination.

Disclaimer & Media Contact

This article was prepared and published by Evrima Chicago, the official editorial and syndication partner for Tom Glynn. Please note the following:

• Evrima Chicago formally represents the artist and his creative works for all matters related to public relations, global media syndication, and gallery outreach.

• All opinions, interpretations, and contextual analyses herein align with the artist's documented practice and creative philosophy.

• The content has been developed from authorized sources, direct observation, and publicly available artistic records.

• Commentary and descriptions are provided for critical, academic, and cultural appreciation purposes only.

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SOURCE: Tom Glynn