Thomas Spoerndle
Systems in Motion
Thomas Spoerndle’s paintings operate within a structured system—geometric forms, primary colors, and calculated shifts in pattern—yet they never feel static. His work is about movement within constraints, exploring how subtle variations in composition can create a sense of rhythm, depth, and disruption.
At first glance, his paintings appear precise, almost mechanical, but spend time with them and they begin to pulse. Planes of color push forward and recede, optical tensions build, and patterns dissolve into unexpected spatial relationships. “I like taking something simple—basic shapes, primary colors—and seeing how far I can push it. What happens when you work with the bare minimum and yet something complex emerges?”
Spoerndle’s “Frik-Shun” paintings epitomize this dynamic. Using deliberate interruptions, waveforms, and shifting alignments, he introduces instability into the grid, making the surface vibrate. The compositions create an optical rhythm that continuously recalibrates the viewer’s perception. “I didn’t even notice until I finished one painting that there was this diagonal flow across it—it just kind of revealed itself.”
Though grounded in painting, his work has always carried an underlying sense of musicality. With a background in drumming and DJing, Spoerndle understands how repetition, syncopation, and layering build structure and tension. “With drumming, there’s pattern and repetition, but also moments of syncopation, accents, and shifts. Painting works the same way—you set up an expectation, then introduce something to push against it.”
His process is methodical but not rigid. He works in layers, applying multiple coats of paint to create a precise yet tactile surface. Hand-cut stencils introduce a physical presence, reinforcing the tension between mechanical repetition and the imperfections of the hand. “People look at my work and think it’s fast, but there’s actually a lot of slow thinking involved. It’s like making a ‘fast-slow’ painting—something that feels immediate but unfolds over time.”
Increasingly, Spoerndle is thinking beyond the canvas. His compositions lend themselves to larger spatial contexts—murals, installations, and even digital animation. “I’ve thought about animation because there’s already so much movement in the paintings. It makes sense. But I’m not the most technologically adept person,” he laughs. “One day.”
His work evolves gradually, each piece a refinement of the last. “A friend of mine once said, ‘We’re slow-burn artists.’ That stuck with me. I like the idea that you build something over time, something that doesn’t just flash but sustains itself.”
As his practice expands, Spoerndle continues to explore the edge between structure and disruption—where the grid fractures, the system shifts, and something unexpected emerges.
