A fledgling installation artist in California, Tomaselli schooled himself in late twentieth-century America’s far-out utopian and dystopian fireworks, ingesting influences from surfboard and car culture, finish-fetish art, Chris Burden and his conceptual noodlings, the light and space trickery of Robert Irwin and James Turrell, the California punk scene, Alice Cooper, The Stooges—as well as loads of mind-scrambling hallucinogens. The low-rise, irony-free industrial stretches of 1980s Williamsburg was the unlikely location where these and other fanciful ideas came together beneath gallons of poured resin.
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