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1939 - 1990. Known for: Painting.
On the 14th of May 1977, Mark Adams photographed Tony Fomison at work in his Ponsonby studio. The long-haired artist is pictured in side-profile painting left handed on a semi-circular board. On the... Read full biography
On the 14th of May 1977, Mark Adams photographed Tony Fomison at work in his Ponsonby studio. The long-haired artist is pictured in side-profile painting left handed on a semi-circular board. On the left of the photograph at the same height as Fomison himself is a shelf – the second highest in the... Read full biography
On the 14th of May 1977, Mark Adams photographed Tony Fomison at work in his Ponsonby studio. The long-haired artist is pictured in side-profile painting left handed on a semi-circular board. On the left of the photograph at the same height as Fomison himself is a shelf – the second highest in the room. In this recess, we at first see the artist’s distinctive reflection in a mirror, but it is not a mirror at all. Jutting out over its shelf space sits Fomison’s Blue Self Portrait, then unframed,... Read full biography
On the 14th of May 1977, Mark Adams photographed Tony Fomison at work in his Ponsonby studio. The long-haired artist is pictured in side-profile painting left handed on a semi-circular board. On the left of the photograph at the same height as Fomison himself is a shelf – the second highest in the room. In this recess, we at first see the artist’s distinctive reflection in a mirror, but it is not a mirror at all. Jutting out over its shelf space sits Fomison’s Blue Self Portrait, then unframed, painted two months earlier between the 1st and 2nd of March. Both the photograph and the self-portrait in studio “record the life, and the study… they record [Fomison] studying himself.”¹ A fascination with faces and ethnology populates Fomison’s... Read full biography
On the 14th of May 1977, Mark Adams photographed Tony Fomison at work in his Ponsonby studio. The long-haired artist is pictured in side-profile painting left handed on a semi-circular board. On the left of the photograph at the same height as Fomison himself is a shelf – the second highest in the room. In this recess, we at first see the artist’s distinctive reflection in a mirror, but it is not a mirror at all. Jutting out over its shelf space sits Fomison’s Blue Self Portrait, then unframed, painted two months earlier between the 1st and 2nd of March. Both the photograph and the self-portrait in studio “record the life, and the study… they record [Fomison] studying himself.”¹ A fascination with faces and ethnology populates Fomison’s art with profiles from mythology, film, history, photography and copies from art history. However, his face, painted with an almost obsessive,... Read full biography