Abstract sculptor, painter, and printmaker Mildred Thompson was born in Jacksonville, Florida, and emerged as one of the most intellectually expansive artists of her generation. She attended Howard University, where she studied under art historian James A. Porter, whose mentorship had a lasting impact on her approach to both art and scholarship. Thompson continued her training at the Skowhegan School of Painting and Sculpture and later received the Max Beckmann Scholarship to study at the Brooklyn Museum Art School. In 1962, she was awarded a residency at the MacDowell Colony, marking an early moment of recognition in her career.

Despite initial success in the United States, Thompson left the country in the 1960s, confronting the limitations imposed by racial and gender inequities. She relocated to Germany, where she lived, taught, and exhibited extensively throughout Europe, developing an independent artistic language removed from the constraints of the American art world. Returning to the United States in 1974, she undertook a series of residencies, including appointments with the City of Tampa, Howard University, and Spelman College, while continuing to divide her time between the United States and Paris until the mid-1980s. During her time in Atlanta (1986-2003), she taught at Spelman College, Agnes Scott College, and the Atlanta College of Art.

It was during her time in Paris in the 1980s that Thompson began to fully explore abstraction in painting, most notably in her Rebirth of Life series. These works, often modest in scale, are characterized by densely layered surfaces and vibrant, pulsating color. Organic forms, suggestive of cellular structures, energy fields, or cosmic phenomena, emerge through thick applications of paint, creating compositions that appear to expand and contract with rhythmic intensity. In these paintings, Thompson sought to visualize forces that lie beyond immediate perception, translating complex systems of life, energy, and transformation into a dynamic visual language. (1)

Across her career, Thompson worked fluidly across media, producing sculpture, printmaking, and painting with equal rigor. Her practice was guided by a deep intellectual curiosity, drawing from science, music, and metaphysical inquiry to “make the invisible visible.” In addition to her studio work, she served as an associate editor of Art Papers, contributing to critical discourse surrounding contemporary art.

In recent years, Thompson’s work has received renewed scholarly and institutional attention, with exhibitions at the SCAD Museum of Art; the New Orleans Museum of Art; the Spelman College Museum of Fine Art; the 10th Berlin Biennale; and The Dirty South: Contemporary Art, Material Culture, and the Sonic Impulse at the Virginia Museum of Fine Arts, curated by Valerie Cassel Oliver. These exhibitions have reaffirmed her position as a pioneering figure whose work bridges abstraction, intellectual inquiry, and a profound engagement with the unseen forces that shape human experience.

The Heliocentric series of prints were produced in 1993 during an artist’s residency at Littleton Studios, North Carolina, where Thompson experimented with vitreography, a process that uses a glass plate to produce a printed image. Through forms and colors that convey velocity, density, energy, and dynamism, Thompson depicted her personal interpretation of scientific phenomenon and systems—or as she described, “what goes on beneath the earth and things of the atmosphere.” Several works titled Helio-Centric refer to planetary revolution around the sun. Others, entitled Wave Function, refer to the wave characteristics of a particle, as described in quantum mechanics. 

Defined by dynamic mark-making, complex uses of color and vast atmospheres, Thompson’s immersive imagery created in the media of painting, drawing, and printmaking, is inspired by scientific theories and universal systems. 

Thompson sought to interpret and visualize elements and experiences invisible to the naked eye, with a particular affinity for the subjects of space and sound. In painting series such as Music of the Spheres, String Theory, and Magnetic Fields, Thompson deftly and uniquely makes manifest ideas related to philosophy, physics, mathematics, and astronomy in stylistic improvisations of lasting resonance.

REFERENCES

1)  Duron, Maximiliano. “How Mildred Thompson’s Vibrating Canvases Envisioned Our World as It Could Be.” ARTnews.com, 23 June 2021, www.artnews.com/feature/who-was-mildred-thompson-why-is-she-important-1234596582/

2) Mildred Thompson: Cosmic Flow, 2022, catalog accompanying the exhibition. New Britain Museum of American Art

3) MILDRED THOMPSON: Resonance, Selected Works from the 1990s, 2016; SCAD Museum of Art, catalog accompanying the exhibition.