Thomas Hager’s meteoric rise in the world of art photography is evident in the list of exhibitions held and also in the distinguished permanent collections which include his work.
His work is in the permanent collections of Gerard Levy, Paris, France; Ken Damy, Breccia, Italy; Mobile Museum of Art and the Huntsville Museum of Art, Alabama; The City of Orlando; The Henry Buhl Collection, New York City; Southern Progress Building, Birmingham, AL; Federal Reserve Bank, Atlanta, GA among others internationally.
Thomas Hager’s new work has recently been in demand among top New York designers, finding homes in such places as Ceasar’s Palace, Four Seasons, and The Ritz Carlton as well as in private collections in New York and LA (Ivanka Trump recently bought (2) works by Thomas Hager which one is featured in the January ’07 issue of In Style Magazine).
Historical Photographic Processes
The Kallitype and Cyanotype processes are vintage photographic processes (1842) in which chemicals are mixed and hand coated on a high quality paper (I use Arches watercolor paper â€“ a high quality paper made in France). I create an enlarged negative in the darkroom that is contact printed on the paper (exposure is made by a UVA light source). However big the negative is, the size of the final image.
Once the image has been made it is washed and then placed in fixing bath of sodium thiosulfate, which gives the image permanence.
I am drawn to this process not only for the painterly aesthetic and historical contribution but for the hands on print making aspect; I become much more involved in the creation of the art piece.
This vintage process has become a perfect puzzle piece for my double exposure figurative work which I juxtapose historical imagery with contemporary models and self portraits. The painterly, less photographic quality references drawings and etchings from art history which is my point of departure.
The process enhances the dimensional quality of the image due to the chemicalsâ€™ ability to get into the fibers of the paper rather than staying on top of the paper as with traditional photographic paper. This creates a soft, tactile surface which is congruous with nature.
My investigation of this vintage process has not only increased my life long exploration of the medium of photography but has helped make a profound statement for my subject matter.