2015 - 2016 - In Tom Betts' series, "Fire Light," forms are subtly excited by the concept of flickering flames, which work to inspire a premier view of life's fantasies and youthful imagination. Illusions of identity are unraveled using the linguistic archetype troughout this series, hypothesizing early origins of identity.
2015 - In his series, "Shadows and Light," Betts experiments with shadow shapes of simple desert subjects that have a primitive influence on evolutionary identity. The linguistic archetype created to understand the origins of identity is put to the test in this series, refining its structure.
2014 - 2015 - In the series, "Islands of Light," Betts draws from primordial concepts of evolution by paring the still life with costal shapes. From this series, triadic arguments unravel the concept of identity requiring a more complex and unique framework of a linguistic archetype.
2013 - 2014 - In his series, "Light & Decadence," string lights are veiled illuminating their golden aura behind pastries and ice creams reflecting moments of fading delight. Betts keenly focuses on the serene atmosphere surrounding these desserts, successfully coddling their forms and preserving their memory. Fundamental triadic arguments unfold throughout this series leading to the comparison of substance, meaning and value.
2011 - 2013 - In his series "De la Luz" and "Light & Setting Sun" the string lights are sculpted to form a path of movement around the traditional tea cups and jars filled with peaches. The Latin American influence combines whimsical movement with magic realism as the lights float above and around the subjects, while the northeast Asian influence views the traditional still life through the impact of mother nature as ornamental traditions that have washed ashore. The concept of identity's beliefs are tested in this series as subtle cultural patterns and environmental realities collide.
2010 - 2011 - In his series, "Repouring Tea," tea cups have broken into fragments, which hover in a frozen moment. Named after parts of the body, each also conveys a kind of futuristic sense of movement by way of invoking the body. Each is titled after a different body part (in French, as he first found inspiration in Paris), and imparts corporeal movement through the arrangement of the fragments. La Main, for instance, suggests the twisting of a wrist. The broken cup emerges as the perfect analogy for the simultaneous sense of fragmentation and wholeness at the core of existence. The dualistic argument of Ephemeral Realism evolves into a triadic, temporal argument during this series paving the way to the key comparison of inspirations, emotions and beliefs.
2006 - 2009 - In his "Tea & Sea" series, each cup floating in the gray sea - the Great Salt Lake, to be exact - is a kind of metaphoric portrait of the artist himself. These are empty vessels to be filled, in this case with all of the outside influences that become internalized to form one's identity. An apt metaphor of the human condition, the cup's position is contingent on the surrounding ripples, and yet its presence also affects the ripples themselves. The understanding of ephemeral identity grows throughout this series and begins to be juxtaposed with common concepts of Reality creating the inspiring argurment of Ephemeral Realism.
2003 - 2008 - In "Tea & Peaches," the most evocative of traditional still life painting, Betts depicts cups and saucers on a shelf with jars of preserved fruit, warmly backlit, as though lights had been dimmed, and intertwined with delicate, festive strings of lights. The past is summoned by the Proustian, abstract sense of a social interaction having happened - a party, a meal, a conversation. Human desire to preserve identity is explored throughout this series.
2003 - 2015 - Portraiture continues to inspire the existential and humanist passion in his work. Empathy overpowers the painting process of these images fostering the idealization of documenting an individual life.
2016 - In Tom Betts' most recent series, "Twist of Light," flowers are proped up by string lights highlighting the growth of identity from a relatively innocent perspective of draped light.
2003 - 2010 - In his series "Nightscapes," he documents the passage of time in an environment by capturing the fluid and fleeting moments where car or shop lights highlight building facades, street signs, windows and pedestrians. The majority of these establishments no longer exist.
2003 - In Betts' "Missing" series, deconstruction of identity begins as the excitement to unravel life's many mysteries unfolds through the desire to contemplate more than just life that passes before the eye. Vehicles, roads and bridges were the ideal subjects to begin the investigation into the progression of time's complex subtlties and identity's origin.
2004 - 2010 - Studying the nude figure builds an understanding of human desire and a meaningful interpretation of life in his work. Each subject provides an intimate view of humanity and individual expression.