Tom Palin is a painter and Subject Leader on the BA (Hons) Fine Art course. He contributes to the MA Creative Practice too. Tom’s practice explores the relationship between the painted object and picture-aspect of painting. His research focuses on the legacies of formalism and Romanticism within theory. In particular, he seeks – with recourse to the philosophical works of Martin Heidegger and Hans-Georg Gadamer – to reframe and resituate the notion of a medium for painting through the application of phenomenological approaches to knowledge and understanding.

Tom graduated from Liverpool John Moores University with a BA (Hons) in Fine Art in 1996 and a PGCE in 2004, and from The University of Manchester with an MA in Art History in 2006. He completed his PhD in Painting at the Royal College of Art in 2018, revisiting the notion of medium specificity within a contemporary frame. He has undertaken residencies in Dublin, Munich and Prague, and his work has been included in many group exhibitions. Solo ventures include: Elegies in Grey, Leeds Arts University, 2018; The Big County, Victoria Gallery, Liverpool, 2011; In Two Minds, Central Art Gallery, Ashton-Under-Lyne, 2010; A Room with a View 2, View Two Gallery, Liverpool, 2008; Between Then and Now, Dean Clough Galleries, Halifax, 2005; A Room with a View, the Atkinson Art Gallery in 2004; and Pride of Place: A Painter’s Perspective, Yorkshire Sculpture Park, 2002 (Feiweles Trust Bursary).

Awards for painting include: The Alumni Award (Liverpool University & Liverpool JMU, 2005); The Gilchrist-Fisher Memorial Award for Landscape Painters (Rebecca Hossack, 2004); The Emerson Group Award (Manchester Academy of Fine Art, 2002); and The Hunting Young Artist of the Year Award (Royal College of Art, 2000). In 2006, along with illustrator Ali Graney, he founded Hydra Arts, delivering workshops in drawing and painting to adults and children throughout the North West of England.

Publications include: Tom Palin: Artist Statements, 1992-2012 (Workshop Press, Leeds, 2013) and Pride of Place: A Painter’s Perspective (Yorkshire Sculpture Park, 2002). He recently presented a paper titled: “To See or Not to See: Pareidolias and Abstract Painting”, at the symposium: British Abstract Painting in the Eighties (Coventry University). His essay: “The Context of Medium Specificity: From Riegl to Greenberg” will be included in the forthcoming issue of the Journal of Contemporary Painting.