Gregory Thielker uses painting and drawing to investigate the conception of site through observation and memory. His hyper-realistic work connects to specific places and calls into question the way recognition and narrative can often sway understanding and perception. He employs graphic materials, such as oil paint and graphite, which are often married with conceptual methods to bring the artist’s role into relief.
He has exhibited throughout the United States and abroad. Recent exhibition venues include Castor Gallery, New York, Bennington College, Vermont, The Brattleboro Art Museum, Vermont, Republic Gallery, Paris, and Flashpoint Gallery, Washington, DC. He is the recipient of many grants and residencies including the Fulbright-Nehru Senior Research Award, Sanskriti-Kendra Residency in Delhi, Hybrid Art Projects Residency in El Salvador, and the American Scandinavian Foundation Artist Grant. His work has been featured by The Guardian, Vermont Public Radio, The Independent, La Repubblica, and New American Painting.
Gregory Thielker currently lives in New York City.
For more info:
“Gregory Thielker paints hyperrealistic vistas of life and weather” by Andy Lee, Provenance Magazine (Australia), August 22, 2016.
“Studio visit: Gregory Thielker’s Paintings of Roads through Rainy Car Windows” by Sasha Bogojev, Hi-Fructose, February 17, 2016.
“Painting the view from a rainy-day road trip – in pictures” by Kathryn Bromwich, The Guardian, Jan. 16, 2016.
“Art and Anthropology in Afghanistan” by Jane Lindholm and Sage Van Wing, Vermont Public Radio, 2014.
“(Un)governed Spaces at Bennington College maps Afghanistan in photos and stories,” by John Seven, The Berkshire Eagle, 2014.
“27 Stunning Works of Art You Won’t Believe Aren’t Photographs” by Heben Nigatu, Buzzfeed, 2013.
“Unfamiliar Territory” by Jeffry Cudlin, “Highway” exhibition catalog, 2013.
“Diverse in India: Fulbright Scholar Sketches Scenes along Superhighway Between Delhi, Kolkata” by Jamaal Abdul-Alim Jamaal, Diverse Issue in Higher Education, 2011.
“These are not photographs” by Max Read, Gawker, 2010.