Liminal Spaces in Jonathan Thunder’s Contemporary Narrative: Bridging Realms

Liminal Spaces, derived from the Latin word ‘limen’ meaning threshold, have long been a topic of discussion in anthropology (the contemporary interpretation of “liminal space” finds its roots in the early 20th-century with Arnold van Gennep and Victor Turner, who used it to describe transitional phases in rites of passage)​. The general concept represents a state of transition or ‘in-betweenness’ that separates two unique experiences or phases​.

Jonathan Thunder: Good Mythology | In the Making | American Masters | PBS

The concept has transcended its ritualistic origins to signify contemporary societal and psychological thresholds. Jonathan Thunder, known for his surrealistic expressions rooted in Ojibwe mythos, embodies the modern rendition of Liminal Spaces through his work, reflecting the turbulent zeitgeist of competing narratives in today’s media landscape. Especially as is currently on display through his solo exhibit, “Liminal Vignette”, at Joseph Nease Gallery.

Jonathan Thunder Wrong Side of the Tracks, acrylic on canvas, 48" x 60", 2018/2022. A painting about identity and balance. A striking tableau where familiar characters are reimagined in a contemporary narrative. The painting features a sexualized version of Tweety Bird, with eyes that reflect with digital hypnotism. A honey bear tilts its head forward like some kind of honey-hemmoraghing unicorn behind a technoshamanic helmet. And is that a criminalized depiction of Jiminy Cricket in the background? Innocent symbols of conscience seem to have a hard time staying clean in Thunder’s paintings.

In the vast digital landscape, a kaleidoscope of visual styles and subcultures has blossomed, each a unique expression of the internet’s boundlessness. Among these, liminal spaces have carved out their niche, resonating deeply with those drawn to their eeriness. They represent a departure from the vibrant chaos of online life, offering a moment of reflection in the otherwise relentless stream of digital content.

These are not your ordinary locales; they are the in-between zones, the forgotten corridors, and the abandoned playgrounds that exist on the fringes of our daily lives. They are spaces that seem frozen in time, devoid of human presence, yet brimming with a surreal, almost ghostly aura.

Imagine walking through an empty hotel hallway, the silence punctuated only by the distant hum of fluorescent lights. This is the essence of liminal spaces in the digital world. They are the architectural equivalents of the uncanny valley, places that should be bustling with life but are instead hauntingly still. These spaces resonate with a peculiar blend of nostalgia, melancholy, and a touch of the surreal, capturing the collective imagination of the online community.

The concept of Liminal Spaces is a testament to the power of the internet in shaping and sharing collective imaginations. It’s a digital renaissance of aesthetics.

Kane Parsons’ “The Backrooms (Found Footage)”, has become an indelible part of what many refer to as “internet aesthetic”, lending itself to a cosmological interpretation of “liminality” as multidimensional and highly digital.

At the heart of this phenomenon lies “The Backrooms,” a labyrinth born from the depths of an online forum. Picture a maze of endless, monotonous corridors with yellowed walls, a space that exists just beyond the fringes of reality. It’s a concept that has evolved from a simple image into a rich tapestry of stories, games, and even a forthcoming film. The Backrooms are more than just a place; they are a narrative playground, a digital folklore that taps into our deepest unease and curiosity.

Jonathan Thunder’s Work
Thunder’s work is a vibrant fusion of contemporary mediums and traditional Ojibwe stories, effectively bringing ancestral narratives to life in the digital age​​. Through various mediums, Thunder contemplates current events while reverberating his dual existence as an enrolled member of the Red Lake Nation and a modern-day storyteller​. His work, sometimes political, delves into critical perspectives of Indigenous portrayals, drawing a clear line between historical misrepresentations and modern-day interpretations​.

Jonathan Thunder Suspension of Disbelief, acrylic on canvas, 72" x 48"

Take Thunder’s Suspension of Disbelief. In a striking scene, Woody mischievously hands an axe to Pinocchio, whose growing, leaf-shedding nose suggests deceit. Jiminy Cricket, symbolizing conscience, appears ineffective as the characters engage in a dangerous exchange of lies. The presence of a skull-shaped bottle and another marked with ‘XXX’ signifies the toxicity of their actions.

This painting is not just an artistic expression but a commentary on the erosion of innocence and the pervasive nature of falsehoods in our society. Thunder’s work invites us to reflect on the stories and characters that shape our understanding of the world.

The chaotic interplay of ideas and characters in the painting mirrors a collision of distinct spaces and boundaries, akin to liminal spaces. These are transitional zones, neither here nor there, yet encompassing elements of both.

In this context, the diverse clash of ideas in Thunder’s work symbolizes the blurring of lines between reality and fiction, innocence and corruption, and truth and deceit. The painting thus becomes a visual representation of these liminal spaces, where traditional boundaries dissolve and new, complex realities emerge. In navigating these transitional zones, we are compelled to confront the multifaceted nature of truth and the intricate tapestry of societal narratives that shape our perception of the world around us.

Jonathan Thunder A Celebration of Rare Beasts, acrylic and spray paint on canvas, 60" x 36", 2021

Now consider Thunder’s A Celebration of Rare Beasts. At first glance, the artwork captivates with its fantastical central figure: a Unicorn Cake, merging the mystique of a unicorn with the familiarity of a celebration. This whimsical yet unsettling creature, carved up and served by a masked man, blends the extraordinary with the everyday.

Surrounding the Unicorn Cake are characters that both defy time and culture, and are firmly immersed within space-time. From a Bugs Bunny-esque figure melded with Native American personifications to a neon-cloud-like Cupid. Their expressions blur the lines between joy and fear.

To say that the thematic essence of liminality is palpably evident in Thunder’s oeuvre would be quite the understatement. His visual narratives straddle the liminal space between the ancient Ojibwe world and the modern technological realm. Like the liminal spaces, Thunder’s work is a threshold, a transformative vista where viewers are encouraged to traverse the dissonant narratives prevalent in contemporary media, reminiscent of the dichotomy of liminal spaces that exist between the old and the new, the known and the unknown.

The Broader Canvas
The metaphor of liminal spaces extends beyond Thunder’s artwork into the modern-day dissonance experienced by society amidst a barrage of competing narratives. The onslaught of contrasting viewpoints in media propels individuals into psychological liminal spaces, where discerning fact from fiction becomes a Herculean task.

Jonathan Thunder’s artwork is a modern-day portrayal of a timeless experience, encapsulating the tussle between traditional narratives and contemporary discourses. We are always contemplating the past in relation to the present and vice versa.

His work is a canvas where the past and the present collide, offering a microcosmic glimpse into the larger narrative of societal transition and the challenges of navigating the murky waters of modern-day information overload. Through the lens of Thunder’s artwork, the contemporary relevance of liminal spaces in understanding the divergent times we live in becomes profoundly apparent.

Thunder’s work is currently on exhibit at Joseph Nease Gallery in Duluth, MN, and is appropriately titled “Liminal Vignette”. It’s on display through December 16th, 2023.