Tom Christopher


Tom Christopher

Tom Christopher was born in Hollywood in 1952. After receiving the BFA from the Art Center College in Pasadena, he started working for various newspapers (People, Fortune, the Wall Street Journal), as well as in the film industry, for Disney and television (NBC studios, CBS Network News) and in comic books. In 1979, he was awarded the Gold Medal for Creative Design. In 1981, he settled in New York and started painting the city. From 1984, he received many commissions (Olympic Games, Los Angeles ; Floating I-Beam, Long Island ; NewsCorp, Rockefeller Center ; The Roseland Mural (9 x 70 m), Times Square). Starting 1998, his paintings were showcased by major museums and cultural institutions such as the Museum of the City of New York, the Pelham Art Center, the Times Square Information Center, the Conde Nast Building (2008), or even at the Butler Institute for American Art (2012). His works are displayed in many prestigious collections, both public (The Office of the Mayor, New York ; The White House, Washington D.C…) and private (Time Warner, Inc., USA ; Rupert Murdoch Inc., USA ; Fondation Colas, Paris ; M. Jean-Louis David, Suisse ; M. Rudolph Giuliani, USA ; M. et Mme Barilla…).

As soon as he arrived in 1981, the Californian painter was seduced by the Big Apple, and has never ceased to paint it with frantic paintbrush. More than the city itself, it is its energy that the artist wants to transcribe onto canvas, with bold colors. The iconic bright yellow of a taxi cab, the moving silhouette of a passerby, the scarlet posters or the mad race of a bike all jostle inside his dynamic universe.

Deeply influenced by the key figures of New York’s artistic scene, Tom Christopher’s style echoes the expressionist gesture of Jackson Pollock or Jean-Michel Basquiat’s fieriness, whose heritage he claims.
Even though he practices drawing on a daily basis, which is at the root of his work, Tom Christopher’s paintings owe everything to color.
“It is much more than a love story, or a genuine passion that he expresses through color: it explodes, enrages, and sometimes it burns these fiercely erected building with its intensity, shifting between the dynamism of Pop art and the exaggeration of fauvism. It emphasizes the movement and the uproar of the city. […] The point isn’t to represent Manhattan faithfully, but rather to express a heightened emotion. We feel Tom Christopher’s gestures on the canvas, his energy, his strength, and this urge to paint. […] But this color isn’t wise and reasonable, it literally roars and Christopher manages to make it dance on a Jazz air, definitely making his painting musical”.