Jacob Thickening
- Anna Lilli Garai
- Mar 14
- 7 min read
Jacob Thickening’s paintings reinterpret myth and personal experience through abstract figures and layered compositions. Works like "Troy" and "Crowd Pleaser" explore pride, deception, and the struggle for acceptance, while "The Rebel" reflects his search for creative independence. Through color and form, he distills emotion into movement, shaping each piece as both reflection and discovery.
Q: Your first visit to the Philadelphia Art Museum sparked your love for art. How did that experience shape your approach to creating art?
A: The Art Museum was a very enlightening experience for me. I knew I had so much to learn, but it opened up so many doors to give myself a chance. The Cy Wombly showcase, Picasso’s "Three Musicians" and Man Ray’s "Fair Weather" really gave me courage to start painting. It wasn’t that I thought I could do what they did, it was the differences of each painting that inspired me. I was completely oblivious to art history beforehand, but what I experienced there is the real beautiful thing about art. Everyone has their own interpretation of what they see—even when they’re shown or told what the painting means, they always remember their interpretation. That alone gives the viewer a chance to be creative, and that could spark something inside them. I was already doing small drawings at the time, but seeing the size of the canvas and the colors made me realize this was an outlet I was looking for. I was looking for something that offered freedom, exploration, and isolation. I had so many emotions built up. I didn’t see paintings as collections or profit; I just wanted to make notes of my growth. I was starting from a very low point, and I saw painting as an outlet to heal and make an understanding of everything.
Q: "Troy" reflects on themes like pride and deceit. How did these themes influence the way you painted this piece?
A: I was already struggling with betrayal and pride personally at the time, and I was reading about the fall of Troy, which reflected these themes I was struggling with. So, I knew I wanted to capture an image of what deceit and pride would look like through abstraction. In this piece, there are 3 figures: the first figure (King) is leaning towards figure 2 (messenger), while the messenger is covering his mouth, telling him news. The third figure, the Queen, is holding the King’s shoulder to show her support, but her eyes are set on the messenger—not really trusting. That moment in the painting, I wanted it to embody the moment when Troy was deceived by letting in the giant wooden horse; the smallest gestures can make a terrible situation. The colors I used were colors of Greek soldiers and Trojan soldiers, and the long streak of orange is there to symbolize pride. I wanted to be minimal with this painting. In my earlier work, I used to paint out every detail, so in this piece, I wanted to use color as the detail. I still wanted the painting to be grounded as an abstract piece and not the literal story of Troy. It’s just my way of coming to peace with these themes.
Q: In "Crowd Pleaser," the story about trying to please everyone stands out. What does this say about human nature and the quest for approval?
A: Before this piece, I was thinking, "Who are these paintings for? What is my audience?" I started to get scared no one would accept my work, and I began asking myself, “Should I go the safer route?” While reading Aesop’s fables, I came across the story "The Miller, His Son and the Donkey." The message of the story is “It’s impossible to please everyone.”
I immediately started painting that story as a reminder to just stay true to myself through my art journey. It’s part of human nature to have doubts, emulate others, look for guidance, and take risks. We all experience those things one way or another, whether through a job, starting a hobby, and so on. Approval depends on the artist's approach to art. Do they care how they are received by others and their purpose for creating art? I remember reading something from Joseph Campbell—he said he believed there are 3 ways to make art. There’s the work you make that is safer, where you know there’s already an audience for it. Then, there’s the work you’re told to do, so you have skill and use it for others. Then, there’s the work no one sees, and the artist doesn’t receive the recognition they wanted until years from now. Francis Goya’s "The Black Series" is a perfect example of that. Times have changed, and social media has opened doors, but instant gratification is what I think hurt the creative process in art as a whole.
Q: "The Rebel" explores your creative journey. How did rebellion influence your path as an artist, especially when you first started?
A: Every artist, I feel like, meets this point—whether they go to school or are self-taught. They will have some sort of rebellion towards life, art, or both. I was more so rebellious towards life. I couldn’t grasp the fact that our society—even stereotypes—plays a big role, and they’ve already set a roadmap of who you should be. Every age has a milestone: whether it’s in school, picking a career, and you get stuck in that cycle. Never really giving yourself a chance to follow your interests because it’s the unknown, and following what society has already set is a safer path. So amidst all those thoughts, I asked myself, “What would I be like or become if I didn’t avoid emotions, trauma, and my interests and really acknowledge it, facing it head-on?” I changed my habits and let go. I started to read a lot, explored different genres of music, learned about art history, and walked around different places.
Painting takes a lot of inner work, and it began to feel like an extension of myself. Once I felt that feeling, I didn’t need to rebel anymore. I wasn’t afraid anymore. I found my passion; it outweighs the burdens of life because it’s something I found and love to do no matter the outcome.
Q: "Hercules Wrestles Strife" uses color to express emotional tension. How do you use color to enhance the meaning and struggle in this piece?
A: I think choosing the right color is important and can tell a lot without a word. It sets the mood and contrast of the painting. The right colors can be hard to find sometimes, so in this body of work, I always use colors that are part of the story. There are different shades of color to add depth, and all the shapes and lines bunched together are to show the fight between Hercules and Strife. Overall, this is my way to get more comfortable with color and learn what the colors mean.
Q: "The Blind Man and Bruised Man" touches on empathy and trauma. What message were you hoping to convey through these contrasting figures?
A: The blind man and bruised man both have injuries that stop them from getting to their destination. Since they both have empathy for each other, they choose to work together. The blind man carries the bruised man while the bruised man leads them to help. The story fits with my own personal struggles. I have always felt for others genuinely. I know one pain can lead to the next, and most of the time, we don’t see a better outcome. Carl Jung created the term "Wounded Healer" for people whose painful experiences enable them to help others, and offering mutual support benefits society as a whole.
On my walks, I came across a lot of people. I learned that applying empathy and compassion to your daily life—using your judgment and taking action when necessary—is beneficial.
Q: "Crepuscolo sul Mare" connects with your Italian roots. How do music and your heritage influence your visual style and approach to painting?
A: Music played a big role in my style, and at the time, I loved to listen to guitarists like Piero Umiliani and Luiz Bonfa. I would take music notes and bunch them together to make figures. Each line ending with a dot connects to another. My earlier work showed how much music influenced my paintings because I was also venturing into different genres of music at the time. When I started to look into Italian culture, I saw that it was important for Renaissance art. I looked into it and loved early sketches of Renaissance art, especially Leonardo da Vinci’s sketches. I feel there is so much material there for inspiration. It’s a priority of mine to study different Renaissance artists. It drastically influenced the way I create art, and I look to keep growing on that influence.
Q: "Regis Filius" delves into anxiety and self-awareness. How did you use the story of the prince to explore those personal emotional struggles in your painting?
A: I originally named this painting "Puer Aeternus," which means “eternal youth.” At the time, it was really hard for me to face adulthood. Adult life lacked meaning and felt empty, like a never-ending road. I feel like it’s why people have a mid-life crisis—the cry of the soul for growth. The creative life felt true, and all the rest is empty persona in a rush to make money and make an impression on other people, losing your true nature. How can someone grow up without losing the feeling of wholeness, creativity, and being really alive, like you had in youth? I wanted to answer this question when I painted "Regis Filius."
I knew I had to be part of society—it's part of growth.
I just had to come to terms with it. "Regis Filius" stands for son or prince, and it also correlates with where I got the inspiration from, which is a book called "The Little Prince" by Antoine de Saint-Exupéry. The painting starts off with a wayward prince who goes on his first voyage with his father for the first time. There is dialogue all throughout the painting with the other soldiers and their experiences. The blacksmith mentors the prince to help him understand his responsibility. You get to experience the prince take on his anxiety and become aware of his surroundings, finally ready to take a stand against adversity.