Spatial Contradictions: Based on Liminal Constructs
By JT Thompson

My work explores the thresholds between reality and illusion, rooted in Geometric Surrealism—a method of distorting spatial logic to challenge conventional perception. Each labyrinth begins in tension: the weight, the bulk, the emotional density that mirrors the instability of lived experience. Through the act of painting, I carve that heaviness away
until the composition can breathe. Into that cleared space, I introduce the invisible—sacred-geometry lines, tiny squares, and quiet architectural marks that hold the atmosphere together.

Corridors, staircases, and rooms form the foundation of my compositions, but they do not exist as static structures. They expand, contract, break apart, and reconfigure, mirroring the
flux of human experience. Figures traverse these ambiguous spaces, embodying the Box Universe theory—where past, present, and future intertwine, and memory shapes destiny. These figures are temporal anchors, guiding the viewer through disjointed perspectives and
spatial contradictions, reminding us that all moments coexist and influence one another.

Light fractures across planes, deepening the sensation of instability. Forms rise and recede simultaneously, creating tensions between depth and flatness, presence and absence.
Spaces that should feel familiar instead exist in a state of perpetual transformation—an unfolding labyrinth of possibility.

In this way, my paintings reflect the nature of liminality itself: the moment between what was and what will be, the fleeting space of transition where doors open, planes shift, and
stairways emerge. In life, we are never truly fixed; we navigate choices, unexpected passages, and unfolding dimensions, shaping our path beyond linear progression. My work seeks to capture that transient energy, inviting viewers into a realm where
perception is fluid, time is layered, and the invisible architecture holding us together finally becomes visible.
— JT Thompson

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