'A Taste of Art' - AUCTION story: Thomkins
Entering the Transgressive World of André Thomkins (and the Fluxus Legacy)
In postwar art, few names shine as boldly and unexpectedly as André Thomkins. Active from the 1950s until his early passing in 1985, Thomkins broke artistic rules in every way. His work—though often produced on small formats—radiates a unique mix of refined watercolor techniques, imaginative miniature drawings, and playful language experiments. Today, his creations explore art that challenges conventional boundaries.
I did not know Thomkins, until recently. I was struck by this work which I found intriguing, exciting… I must have been triggered by the simplicity of colours, multiple figures and hidden elements in this work entitled 'George Brechts Traum', 1970, offered at an auction recently. Intuitively, drawn to the work I took a chance on bidding on it, and won the lot!
Only then I realised I did not know exactly what I had bought. As I was interested to know more about this work I looked up who he was…. Here's the story.
André Thomkins was more than just a painter; he was an innovator. He constantly pushed the limits of traditional art forms and developed techniques that set him apart. One of his most fascinating innovations was the use of "lackskins." Inspired by bookbinding methods, Thomkins would place thin layers of varnish on water and then transfer them onto paper. The result was a delicate surface that held an almost dreamlike quality, providing a perfect backdrop for his surreal compositions.
He also had a deep connection with language. Words were a key source of inspiration for him, and he enjoyed playing with them in clever ways. His work often featured palindromes, anagrams, and quirky phrases he called "Retrowörter" (retro-words). Phrases like "Oh! Cet écho!" and "nee, die Ideen" aren't just wordplay—they invite us to look closer and find hidden meanings between the lines. This mix of visual art and linguistic creativity made his work vivid and intriguing.
Clever, and creative. Indeed the work itself has different elements of 'play', like puzzles that you need to solve or codes you need to crack. I didn't understand it on first sight, but things were becoming more clear now…
One of Thomkins's notable paintings, titled "Terre-Neuve" (Newfoundland), encapsulates his inventive spirit perfectly. At first glance, the watercolor seems like a fantastical landscape: a world where fictional architecture meets mysterious, small figures. The details in the painting are not sharply defined; instead, they are softened by nebulous brushstrokes. This technique creates an almost magical atmosphere, where parts of the image might resemble a medieval miracle or an imaginative hermit's retreat in a surreal desert.
Interestingly, Thomkins's diminishing eyesight during the 1970s also played a role in shaping his technique. The resulting diluted details add a layer of mystery—a reminder that art can evolve even as the artist's own perspective shifts over time. For those who value discovery in art, "Terre-Neuve" is a work that invites repeated visits, each time offering new insights and emotional resonance.
I started digging further into his life, apparently his father was an architect and this is reflected in his work as well… I tried studying architecture after high school, it did not work out but I did meet my wife back then, it was definitely a year not lost! The work has details of bridges that become trees (linking the 'archi' with the 'terra'), yep things are becoming clearer …
Then I found out he also was part of a movement, the 'hidden' link was in the title of the work 'The dream of George Brecht', who apparently was his mentor and instigator of this movement: 'Fluxus'
Thomkins's art cannot be fully understood without considering its connection to the Fluxus movement. Emerging in the 1960s, Fluxus was a radical, international group of artists who wanted to democratize art. Instead of producing expensive, traditional paintings, Fluxus artists created pieces that were simple, often performative, and meant to be experienced by everyone.
One of the key figures in Fluxus was George Brecht (1926–2008). Originally a chemist, Brecht became a conceptual artist best known for his "event scores." These were short, poetic instructions that transformed everyday actions into art. For example, his piece "Drip Music" merely instructs that water drips into an empty vessel. This approach, based on spontaneity, chance, and the celebration of the mundane, perfectly encapsulates the Fluxus philosophy.
Thomkins's work shares many of these ideals. His anti-worlds and playful explorations of language, combined with his innovative techniques, reflect the Fluxus spirit. Along with other like-minded artists such as George Maciunas, Yoko Ono, and Nam June Paik, Thomkins helped blur the lines between art and life, making art accessible and engaging in a completely new way.
On the lower left of the work, an annotation (written in pencil) is visible. The auction house mentioned in the sale information '(proof) Eggenschr....druck'. Apparently they could or were not able to read it properly. After some further research I found out that the this is a reference to 'Peter Eggenschwiler' a Master Printer with whom Thomkins collaborated …
Behind every great work of art, there is often an unsung hero who brings the artist's vision to life. In Thomkins's case, one such hero was Peter Eggenschwiler. Born in 1942 in Switzerland, Eggenschwiler became renowned as a master printer and lithographer. While he rarely claimed the spotlight as an artist himself, his technical skills were essential in creating high-quality print editions for many avant-garde artists.
Eggenschwiler worked for many years in Zurich, producing prints for artists like André Thomkins, Dieter Roth, Daniel Spoerri, and Meret Oppenheim. His technical expertise combined craft and artistic insight, ensuring that every print was not only a faithful reproduction of the original work but also an art object in its own right. For art collectors and professionals, works by Thomkins that were printed by Eggenschwiler carry extra value and are markers of excellence in the field of graphic art.
Looking into this further, one can reflect on what they created 50 years ago and on our society today …
Fluxus was built on the principle of making art democratic. The movement rejected the idea that art should be the reserve of the elite, instead celebrating simple gestures, everyday objects, and performance-based art. Although Fluxus initially aimed to undermine the commercialization of art, today many of these works are highly valued by collectors and museums around the world.
This journey of discovering Thomkins's work is one of continuous exploration. Each piece is a portal into a world where technique meets imagination, language becomes art, and every detail encourages you to look closer. Thomkins's creations offer a rich source of material for exhibitions that challenge conventional artistic narratives. It is not just about possessing a beautiful work—it's about being part of a history of radical experimentation and innovation. His anti-worlds challenge us to see beyond the literal, to embrace the playful, and to explore the infinite possibilities that arise when tradition meets radical experimentation.
Thomkins and the Fluxus movement (will) continue to inspire and challenge our perception of art. Their legacy is filled with bold experimentation and a fearless rejection of conventional boundaries. Thomkins's innovative techniques, his playful engagement with language, and his connection to influential figures like George Brecht and Peter Eggenschwiler provide a roadmap for artists who dare to explore beyond the ordinary.
Bruno Hoste, May 25th 2025 (Izier, Durbuy)