THOMPSON HALL’S paintings are a head-turner, graphically succinct, of strong composition and illuminated by vivid colours. They are powerful, symbolic tableaux that shed light on issues of urgent concern including social change and marginalisation.

Reminiscent, in their intention, of Mayakovsky’s Rosta posters, or the interventionist spirit of Keith Haring’s it is the lucidity of their proto-political messaging that is so arresting and intriguing.

When asked where he draws his inspiration from, his is a matter of fact list: “Watching the news, reading newspapers, talking to people and find out what they are interested in
going to galleries and museums, learning about the history of people and places.”
 
Hall’s paintings resemble board games where segregation and exclusion surround centrally placed British institutions. Is he expressing a discontent experienced personally, among relatives, friends, etc?