Doubting Thomas at Table 1995

Curator: Frank Mason’s “Doubting Thomas at Table,” painted in 1995 using oil paint, certainly grabs your attention. The brushwork is so expressive, almost frantic. What are your immediate impressions? Editor: The atmosphere feels incredibly fraught, doesn’t it? Almost gothic in its intensity, though it also has this raw, visceral energy that feels incredibly contemporary. You immediately feel drawn into the psychological drama unfolding at the table. Curator: Mason really pushed the boundaries of traditional painting here. Consider the surface—the thick impasto, the almost violent application of the paint. He’s clearly concerned with the physical properties of the medium, the labor involved in creating this scene, rather than just rendering a literal depiction. The material handling definitely contributes to the painting’s raw emotional power. Editor: I see that, and I think the raw materials serve to underscore the vulnerability within the painting, really calling our attention to the themes of faith, doubt, and the body. We are presented with Thomas, of course, but each figure embodies complex relationships to power, divinity, and belief that are thrown into stark relief here. Curator: It’s fascinating how Mason uses those traditional materials to create a very non-traditional effect. The distortion of the figures, the exaggerated features—it's an intense handling. Do you think it challenges established notions of "good" painting or even ideas about traditional subject matter? Editor: Absolutely, I’d say Mason appropriates that very loaded history painting tradition, really pulling the viewer into a direct confrontation with faith. We see the violence against Christ's body and consider his sacrifice, but it doesn’t feel reverential at all. I can't help but see this image as an invitation for discussion around the role of the institution, especially thinking about historical social power structures, gender roles, and racial divides, all made more stark given the lack of diversity presented in the artwork itself. Curator: Thanks for adding some additional layers of insight there, it's been interesting exploring Frank Mason’s use of familiar materials in the construction of this painting. Editor: Yes, indeed. His artwork inspires further reflections on its capacity to generate new interpretations within different intersectional realities.