Tom Hammick's particular visual imagery stems in
part from a vision conjured up in the transitional state between
sleep and wakefulness. His paintings, woodcuts and collaged
dry-points have the feel of half dreams; while they are based
firmly on personal experiences, their color and subject matter have
the heightened truth of a world in crisis.
Skies and foregrounds are flattened out, opening up
a form of breathing space contrasting areas of pattern which clothe
and protect their inhabitants, or allude to their built
environments. On one level, what one sees is a two-dimensional
arrangement of colors and shapes; yet on another, Hammick's visual
hallucinations essay a quite extreme metaphor for a memory turned
ominous, like haunting imagery from the stories of J.G. Ballard,
Philip K Dick.
Landscape in Hammick's hypnagogic vision is anything
but bland: figures are often dwarfed by their settings. They seem
to shimmer and jangle, turning into disturbed receptors of a rush
of environmental and social change.
As a painter, and in particular as a printmaker, Hammick has
been influenced by looking at traditions of art outside Western
culture including, Japanese print and film, Chinese scroll painting
and Indian miniatures. Hammick's woodblock prints and etchings of
varying scale can be seen to create a visual equivalent of Buddhist
and Confucian contemplation of the relationship between humankind