The Artist was recorded Live on www.streamingsportstalk.com @7:00 pm

Thursday September 26th, 2013 with Bishop Abu H. Mujahiddin, Hosting

A Gallery Preview September 28 - October 2, 2013
Ursuline College, Wasmer Gallery

Gallery Hours: Closed on Monday

Gallery Open: Tues. - Fri.,  12 noon - 5 p.m.  -  Saturday & Sunday, 1:30 - 4:30 p.m.


Florence O'Donnell Wasmer Gallery, Ursuline College
2550 Lander Road, Pepper Pike Ohio 44124

Hope to see you at the Show!


Thomas Salomon has been teaching art in the Cleveland Metropolitan School District for 13 years. His work with children has been the most invirgorating activity besides his private art making endeavors.

His Memoriam Art for the last 8 years has been the challenge of a lifetime. It forced Mr. Salomon to dig deep within himself in order to probe the very depth of his inner conscience so that his art would be a "new beginning" so to speak.

This new art form of his encompasses a curiosity into the topics of history, language, religion, art history and the techniques of artistic expression.

It probes into the very existing fabric of all that he held dear. His love of reading and music most specifically prompted his artistic psyche to create a fresh new statement.

Salomon looked back to his artistic influences...i.e. Rauschenberg, Motherwell, Tapies, etc. and combined them with both his reading and musical influences.

He was out to proclaim his fury over the grave injustices foisted upon the Jewish people throughout history and seek a way to indict those that he found most guilty. That was the easy part.

The difficulty lay in the artistic treatment within the inner expression of the art. New materials were needed, new voices were desired and a new expressive purpose was demanded. He found it within the history of injustice towards the Jewish people.

His influence from classical music and his friend Eberhard’s compositions about loss impelled Salomon to act. The death of his friend Dennis Eberhard generated the momentum.

The result of eight years work is now on exhibit, at the Wasmer Gallery.

There exists some 75 large fabric wall works, some 80 paper works; 12 books; 15 altars; 10 totems and 49 prints.

Language and Its Use in Art

The use of different languages within the artwork of this exhibit represents a four-
fold purpose: One, mainly to show that the European victims of the Nazi atrocity were
from many diverse cultures, and thus, language groups. Phrases and quotations in these
languages provide an opportunity to rid the artist of any complacencies normally
attributed to the more comfortable English language usage.

To make the language less accessible to the viewer forces one to consider
alternative reasoning and deciphering of the exhibited works. The blatant use of English
would trivialize the effort entirely and so it was rejected as an element of expression. The
very poignancy of a foreign language usage would cast immediacy to the work and a
mystery as well all the better for the metaphors to be more honestly interpreted.
A learning environment would also be established for the viewer. They would have
to stretch their comprehension limits to the very borders. Exasperating though this may
be, nevertheless, a more truthful expression would be made possible.

And a final fourth purpose would be that some of the actual beauty of the culture
group could be established both to the eye and to the ear with the aid of translators and
written translations.

The beauty of unknown written languages is that we are compelled to simulate a
sound on the palate or an inflection to the ear, all the more adjusting our interpretive
apparatus systems to a learning plateau previously unknown to us.

In my own private quest to actually write these foreign words or phrases it made 
me more sensitive to these various cultures' histories and calamities,
their vagaries and
nuances, and as well, their relationships to one another over time and evolution.
Just how religion and philosophy intertwined with one another throughout each
individual culture's evolution was mesmerizing and invigorating at once. It compelled me
to delve deeper into the backbone of each culture group, forcing my literacy capabilities
and research to newly discovered heights. It was stimulating to challenge previously held
prejudices with new summations and reflections. It helped make the art go deeper into
areas of previously unknown questions about how art can best be expressed in today's

world of extreme electronic robotics. This new instantaneous world of superficial
information bursts creates zombies of a new kind of conformity, alien to our former
generations of eager subscribers

The new relevance is instantaneous mediocrity and amateur-ity, professing that a
mediocre mind can over-perform superficially. It is all around us today and inescapable
and permeates all areas of endeavor.

My 91-year-old auntie is now reading books via a computer pad device (Kindle) to
her own satisfied bewilderment
. Hosannah!

And I don't even comprehend an e-mail message, nor do I ever want to indulge in
it. Merde. Historically, the ancient Egyptians used a language form to decorate, inform andimpress. The Celtic monks used images within their language. The new Christian Byzantines used Greek to infuse their religious art with more impetus. El Greco, Rembrandt and others used language in their portrayals in order

to give more meaning and justification to the work.

The 20th Century artists of note who utilized language excerpts in their works
include Basquiat, Beuys, Braque, Cornell, Davis, Flavin, Kiefer, LeWitt, Miro,
Motherwell, Picasso, Rauschenberg, Rivers and Twombly to name the most prominen
Language can be used as a design element while offering new treatments to the
overall composition of parts. Leading proponents of this type of usage are certainly
Basquiat, Braque
, Davis, Miro, Motherwell and Picasso.

Controversy can erupt over the fact that a foreign language speaker of that same
language used as part of the art will not be able to go beyond the words inscribed as part
of the art and that he will not be able to comprehend nor appreciate the overall message of the art - another reason for my not writing in English. It had previously happened to me while writing Hebrew words on pictures. I invited a former rabbi to view them and his only remarks were the mistakes that I had made in the spelling of the Hebrew words. He offered absolutely no comments on the meaning of the works in question. He could not go beyond the supposed inaccuracies of the spelling.