Through the lens of painting and drawing, Thomas Langley's practice is deeply concerned with the fundamental mechanics of image creation, manifesting in pulsating rhythmic compositions. The foundation of this body of work lies in traps, nests, and vessels, serving as anchors for concepts of place, home and travel. Langley imparts permanence to these temporal structures through a sculpted and almost drawn approach to painting, with thick impasto application.

 

Here we are confronted with all the sensibilities of a minimalist painting practice, characterised by a stripped down, pared-back, raw use of materials. This material handling is combined with an expressive visual language of semi-representational mark-making, creating a dialogue between abstraction and representation. 

 

Nests, envisioned as temporal sites of rest and safety, transform into optimistic constructions symbolising self-comfort and a shield against external adversities. This metamorphosis nods to the universal yearning for security within and the transformative power that elevates house into a home.

 

Langley’s vessels carry, while nests incubate, which speaks to the shared human desire for connection and comfort, underlining the sentiment which echoes a universal longing: "Everyone wants to be held."