Now, I'm Thomas Kinkade | Dirt
Thomas Kinkade has been in my heart lately—as aspirational (I’m trying to recreate the cottage feeling in my own house), as nostalgic (remember going to the mall and getting a painting with some loose specks of paint over a print?), and as strangely contemporary (I now spend all of my time making Thomas Kinkade recreations using AI). My mom once dragged me to a convention center in SoCal to meet Kinkade and have a painting signed. Dragged, because I was around fifteen and humiliated by my own body and also everyone else’s body. Someone took a photo of all three of us, lost in time, and I made an unhappy teenage joke about it (“Look… it’s ME”). I remember he had a beard, dyed, and he wore a blue shirt tucked into his pants: “the Painter of Light.” Everyone in America has a Thomas Kinkade memory. They sold them at state fairs, in malls, with traveling events. They appealed to the masses in a way most art simply does not: wholesome, comforting, soft, nostalgic. Close your eyes and you can
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