Thomas van der Linden uses a wide variety of motifs in his work. In his complex compositions he incorporates such diverse subjects as musical instruments, children's toys, minerals, anatomy, geography and art history.
Despite the sometimes inimitable leaps in thought, Thomas van der Linden's paintings, watercolors and prints are characterized by a stable arrangement. He has a certain fascination with the Periodic Table from chemistry, a system that contains the completeness of this world and probably of all worlds in sight. His personal alphabet is very clear and immediately recognizable: an emphatic, graphic treatment of contours and surfaces in a rhythmic repetition. The motives – he himself speaks of figures – are indefinable, but closely related to each other. As in a chain reaction, one form evokes another. This is because the work is done partly rationally and partly in trance. The bright use of color contributes significantly to the atmosphere of a work and also determines its meaning. He builds with fragments, recognizable shapes such as a shoe, a lower leg, an eye, some apartment buildings, a candle and brick walls, but also with chalk scribbles and grid frills, brush strokes and dots, circle and box shapes, bold or lean. All that in one effort. Buildings, growths and beings come from it. Enough associations and impulses. That does not mean that Van der Linden just does something. He points to the visual intelligence that is an order in painting and which has its own dimensions. human drama, war and play seriousness and humour, clichés used again; Thomas van der Linden (1952) attended the art academies in Tilburg and Maastricht and the Film Academy in Amsterdam. His work can be seen in the Groninger Museum, the Stedelijk, the Van Abbemuseum and the Noord-Brabants Museum, was also acquired for major corporate collections and appeared in various publications.