Behind the Scenes: William Thompson

William Thompson in his Brooklyn, NY studio (2016)

We were both working on Unbreakable Kimmy Schmidt when I first met William Thompson. By our 9:00am break that same day I learned just how dedicated he was to his art. Today, as we both work on the second season of the hit comedy-drama Master of None, I see more than ever his unrelenting devotion to art.

As a scenic artist and a member of Local 829 you are afforded scheduled breaks at various times of the work day, which most often is ten hours long. During these breaks, and for the large majority of scenic artists, you will hear lively conversation and observe smart phone surfing and snacking. This is not the case with Thompson. He will most often be sitting somewhere, alone and drawing in a small, softbound sketchbook he keeps in his pocket. This is not to say he is anti-social. The reality is quite the contrary - Thompson is funny, intelligent, an excellent scenic and a joy to work with. However, what is most important to know about Thompson is that he is a talented and passionate artist who makes powerful images that are as introspective and haunting as they are visceral and emotive. His art ranges vastly in size and in scope depending on the content of each work. Most of the time he presents himself as the subject, whether he is the protagonist, the victim or just an innocent witness. In many ways, his art parallels contemporary society as he uses quite beautifully, metaphor and symbolism to make his notions, feeling and observations known. Yet there is always mystery, something we cannot know about him that keeps us as viewers quizzically intrigued.

The following is a conversation I had with Thompson where I’ve given him a chance to unravel his passions, uncomfortable realities, and struggles he has put forth in his work.

William Thompson, SP Red (2012) oil on masonite, 5 x 6.5 inches

DDL: First, I want to mention that you will have a self-portrait in Facie: Self-Portraiture Interpreted by 25 Artists, which is a show I curated for Galerie Protégéin New York City. The painting I selected is quite small, but incredibly powerful as your use of red to enhance the form goes beyond reality and into a psychosocial realm. Can you tell me a bit about your thinking behind this work, as well as your self-portraiture in general?

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