Chip Thomas: The Good Fight

CHIP THOMAS
AKA JETSONORAMA
THE GOOD FIGHT

CHIP THOMAS AKA JETSONORAMA
2

TABLE OF CONTENTS
HIS WORK REFLECTS THE PASSION
HE HAS FOR THE BETTERMENT OF
HUMANITY, JUSTICE AND TRUTH.
-Amy Young
CONTENTS
04
About the Artist
08
Medicine + Art
11
Navajo Nation Artists Respond to
the Threat of Uranium Radiation
14
Putting Interiors on Exteriors
20
Get Involved
21
References
3

CHIP THOMAS AKA JETSONORAMA
ABOUT
HChip Thomas, aka “jetsonorama”
is a photographer, public artist,
activist and physician who has
been working between Monument
Valley and The Grand
Canyon on the Navajo nation
since 1987. You can find his
large scale photographs pasted
on the roadside, on the sides
of houses in the northern Arizona
desert, on the graphics
of the Peoples Climate March,
Justseeds and 350.org carbon
emissions campaign material.
T
Chip Thomas by Ben Moon, 2018.
NOTE FROM THE ARTIST
The question I’m asked most frequently
is how a black doctor in his
50s working on the Navajo reservation
started doing street art on said
reservation. In retrospect, it was only
natural for this evolution to occur.
I started working in a small community
between the Grand Canyon and
Monument Valley called Inscription
House in 1987. I’d always been drawn
to photography and built a darkroom
shortly after my arrival on the Navajo
Nation. My passion photographically
is shooting black and white in a
documentary style inspired by people
like Eugene Smith, Eugene Richards,
Joseph Koudelka and others. By
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TEXT BY JUSTSEEDS ARTISTS’ COOPERATIVE & CHIP THOMAS
IP
HOMAS
going out and spending time with
people in their homes and family
camps, I have come to know them
as friends. Interestingly, these home
visits enhance my doctor/patient
relationship by helping me be a more
empathetic health care practitioner.
I’ve always been drawn to street art,
graffiti and old school hip-hop. I
was attracted to the energy of the
culture in the 80s and though I
was miles away from the epicenter,
I thought of myself as a charter
member of the Zulu Nation. I would
travel to New York City to see
graffiti on trains, on buildings and
in galleries. I did some tagging in
the 80s before coming to the Navajo
Nation and participated with a
major billboard “correction” on the
reservation shortly after my arrival.
My early interventions on the
street were largely text based saying
things like “Thank you Dr.
King. I too am a dreamer” or
“Smash Apartheid” and so on.
In 2009 I took a 3-month sabbatical
to Brasil which coincided with a
difficult period in my life. Though
I wasn’t looking for an epiphany,
I was fortunate to stumble upon a
passionate group of artists working
on the street who befriended me. It
was during this time that I appreciated
how photography could be a
street art form. Inspired by Diego
Rivera and Keith Haring, I’d become
disinterested in showing my photographs
isolated from the people I was
photographing and wanted to pursue
a more immediate relationship with
my community reflecting back to
them some of the beauty they’ve
shared with me. And in truth, I
was infatuated with the feeling I got
being with the artists in Salvador
do Bahia and wanting to find a way
to keep that vibe going I started
pasting images along the roadside in June 2009.
I was blown away by Richards’ work in the late 80s
and early 90s for Life Magazine and had an opportunity
to spend 5 days picking his brain at Santa Fe
Photographic Workshops in 1991. It’s this one person
with one camera, frequently with only one lens
shooting black + white film in ambient light aesthetic
that informs my eye as well as 25 years spent in my
home darkroom pursing the zone system. It’s been
an interesting challenge attempting to bring that look
to black and white prints on regular bond paper coming
off a toner based plotter. I’d like to think that
my vision is a part of the storytelling, first person,
humanist tradition of the people I look up to mixed
with a healthy dose of Diego Rivera + Keith Haring.
Regardless, I give thanks that the journey continues.
In beauty it is finished.
ABOUT
@JETSONORAMA
5

CHIP THOMAS AKA JETSONORAMA
6

I COME FROM A TRADITION OF
HUMANISTIC, DOCUMENTARY
PHOTOGRAPHY. TRADITIONALLY,
THIS PHOTOGRAPHY IS BLACK
AND WHITE AND FOCUSES ON THE
PROCESS OF GETTING TO KNOW
PEOPLE OVER AN EXTENDED PERIOD
OF TIME AND ATTEMPTING TO TELL
THEIR STORY AND REVEAL THEIR
TRUTHS THROUGH PHOTO ESSAYS.
Wheat-pasted pump house on a radioactive wasteland by
Jetsonorama for The Painted Desert Project, 2018.
Inside Jetsonorama hung a sign stating:
Welcome to #ThePaintedDesertProject. The photo … speaks
to the land around this old pump house. Much of the land is
contaminated with uranium. There’s >500 uncapped uranium
mines on the rez. They affect this land, the water, animals
+ people. (Don’t linger in this room + don’t kick up dust.)
7

CHIP THOMAS AKA JETSONORAMA
ARTICLE BY DIANA KIRK | APRIL 11, 2017
MEDICINE & ART
Dr. Chip Thomas, also known by his artist name Jetsonorama, lives in Tuba
City, Arizona, on Navajo land. For thirty years, he’s worked as a doctor in the
Painted Desert region, treating patients with common health issues as well
as older patients suffering from mining exposure during uranium extraction.
8

MEDICINE + ART
Seeking to bring awareness to the issues
faced by people in this region, Thomas
began using a lifelong photographic hobby
to create “wheatpaste” posters - large photos of
Navajo residents glued with a water-flour mixture
to water tanks, grain silos, and roadside art stands.
I spoke with him recently in Joshua Tree, California,
where he was working on a new installation.
Photos top to bottom:
1. Chip Thomas with his
mural at Cow Springs
by Dawn Kish, 2016.
2. Rose Hurley and her
great Grandson, Edzavier
by Jetsonorama, 2019.
3. Stephanie in Cow Springs
by Jetsonorama, 2014; photo
by Ben Knight, 2015.
JUST AS ESCAPED SLAVES FOUND SOLACE
IN INDIGENOUS COMMUNITIES BACK IN THE
DAY, I HAVE FOUND THAT HERE WHERE I FEEL
THAT THE WORK I DO MAKES A DIFFERENCE.
What led you to take your photography of
Navajo residents and wrap it around issues
such as global warming and social justice?
I started photographing in black and white
documentary style in 1987, when I first moved
to the Navajo nation. From the beginning,
I enjoyed spending time with people as they
went about their day-to-day chores such as
hauling wood, coal, and water, or just being
with family. I attempted to tell stories
of community members I photographed.
As a person of color raised in the South, my
concern for social justice comes easy. I’ve always
been interested in cultures from around the world.
Social studies was my favorite subject in primary
school. Photographing and storytelling in the context
of the reservation was an organic evolution.
Explain how your art connects with
issues of health and the environment.
As a physician, I see a lot of older men with
chronic lung problems who use supplementary
oxygen in order to perform activities of daily
living. The majority worked in the uranium mines
on the Navajo nation in the WWII and Cold War
era and are suffering health consequences from
the lack of protection and information afforded
to them at that time. When companies started
mining uranium here in the 1950s and studying
the Navajo miners (without telling them of the
health consequences of their work), it was thought
initially that the Diné, or Navajo, had a gene
that prevented them from getting cancer because
the rates were so low. However, various cancer
rates in the Diné exceed the national average.
In light of multinational mining companies
wanting to mine the north and south rims of
the Grand Canyon for uranium, which will be
transported across the western part of the Navajo
9

CHIP THOMAS AKA JETSONORAMA
nation to mill sites in Utah, and the
detrimental effect this has on the
environment and human health,
I most definitely plan to do more
public art work around this issue.
The uranium issue is multifaceted
in that there’s the concern regarding
cleaning up the 523 abandoned
mines that haven’t been sealed
from the Cold War period which
are contaminating the land, water,
animals, and people to fighting
new efforts at mining and milling
in and around the reservation.
How do you feel watching social
media concentrate on #blacklivesmatter
when you’re surrounded
by people in poverty, smack dab
in the middle of the most developed
nation maybe in the world?
Well, it’s about working for social
justice where you are. The Diné
nation is 27,500 square miles in
size and is home to approximately
180,000 people. The land is rich
with water in aquifers, coal, oil,
natural gas, and uranium. With
these resources, the Diné should be
the materially wealthiest community
living in the Western hemisphere.
But because the reservation
is treated as a colony, the contracts
for exploiting these resources were
written to benefit multinational
corporations and not the Diné.
Instead, the unemployment rate
here is over 50 percent. Twenty five
percent of the people here don’t
have running water or electricity,
yet I live thirty miles from the
Peabody Coal Mine and fifty-five
miles from the Navajo Generating
Station (a coal burning power
plant), and Glen Canyon Dam
(a hydroelectric dam). There are
grassroots organizations across the
reservation addressing these issues
locally and at the state and national
levels. But, sadly, change is slow.
If your question is why is it that I as
an African-American man am not
advocating for social justice in the
Black Lives Matter movement, I’ll
share with you something I shared
with a friend twenty-two years ago.
In a sense, I feel like a modern-day
slave in that in my day-to-day life
on the reservation I don’t have to
deal with institutional racism or
racially based abuse outside the work
environment, as many of my brothers
and sisters do in their interactions
in urban areas. Just as escaped
slaves found solace in indigenous
communities back in the day, I have
found that here where I feel that
the work I do makes a difference.
Tell me about the Painted
Desert Project.
The Painted Desert Project grew
out of a conversation with a fellow
street artist in 2012. I see it as a
case study in building community
while sharing the tools of muralism
with interested members of
the community. I’ve taught a few
youth on the reservation my process
who have expressed interest
and have conducted workshops at
universities across the country. I’ve
done some pieces with my fellow
Justseeds member, Jess X. Snow.
What does your artist name
- Jetsonorama - stand for?
My birth name is James Edward
Thomas Jr. My initials are JET. As a
kid in the 1960s, I used to love the
Jetsons. In 2009, when I created my
gmail account, I wanted jetson@
gmail.com as my email address,
but Mr. Google said that name was
taken and suggested three other
names. One of the three names was
Jetsonorama. Loving mid-century
modernism and being a child of
the atomic age, I loved the “orama”
reference and went with it.
Mary Reese Manna by
Jetsonorama, 2014
SIDEBAR BY EMILY PIER | SEPTEMBER 22, 2017
10

IT’S ABOUT
WORKING FOR
SOCIAL JUSTICE
WHERE YOU ARE.
#Thepainteddesertproject
NAVAJO NATION ARTISTS
RESPOND TO THE THREAT
OF URANIUM RADIATION
Nuclear contamination from abandoned
uranium mines is rampant across the Navajo
Nation. A community of artists are raising
awareness through a street art project.
Uranium Contamination by Jetsonorama, 2016.
MEDICINE + ART
Nuclear contamination from abandoned uranium mines is rampant
across the Navajo Nation’s 27,000 square miles of land,
throughout Utah, New Mexico and Arizona. This situation has
left thousands of people without access to safe drinking water,
according to the Environmental Protec-tion Agency (EPA). The
Painted Desert Project is a street art collaboration that warns
people of ra-dioactive pollution in the area of the Navajo Nation,
and is curated by Dr. Chip “Jetsonorama” Thomas, a medical
doctor who lives on the Indian reservation and treats people
who have developed cancer and other health complications as
a result of radioactive exposure. Jetsonorama’s art serves as a
means of educating people about environmental injustices that
deeply affect the Navajo Nation. He hopes that his artwork will
encourage people to petition Congress and the federal government
to clean up old mines and contaminated land and water.
Inside of a hut he had wheat-pasted, Jetsonorama hung a sign
stating: Welcome to #ThePainted-DesertProject. The photo
… speaks to the land around this old pump house. Much of the
land is contaminated with uranium. There’s >500 uncapped
uranium mines on the rez. They affect this land, the water, animals
+ people. (Don’t linger in this room + don’t kick up dust.).
11

CHIP THOMAS AKA JETSONORAMA
AS A PERSON OF COLOR RAISED IN THE SOUTH,
MY CONCERN FOR SOCIAL JUSTICE COMES EASY.
PHOTOGRAPHING AND STORYTELLING IN THE CONTEXT
OF THE RESERVATION WAS AN ORGANIC EVOLUTION.
Joshua Tree Installation by Jetsonorama, 2018.
The installation was an initiative to educate about ecological issues
in the desert – as well as an attempt to stir up cultural tourism.
12

13

CHIP THOMAS AKA JETSONORAMA
PUTTING
INTERIORS ON
EXTERIORS
Arrowhead Village Installation by Jetsonorama, 2018.
I WOULD LIKE TO SEE PEOPLE JUST APPRECIATE
OUR SHARED HUMANITY AND THINK ABOUT
EACH OTHER A LITTLE BIT DIFFERENTLY.
14

PUTTING INTERIORS ON EXTERIORS
To truly excel at one activity is an accomplishment for
anyone. Some people, however, dedicate their lives to
approaching the world from several different angles.
Chip Thomas is a superlative example of the latter.
ARTICLE BY AMELIA RINA | JULY 19, 2018
After narrowly escaping a
youth spent in military
school, Thomas went to a
Quaker Junior High School in the
North Carolina mountains. This
early exposure to pacifist thinking
stayed with him through his years in
medical school, punctuated by trips
to New York City to experience the
’80s street-art scene, and his eventual
medical residency on the Navajo Nation.
Now having lived there for over
three decades, Thomas combines
the healing drive of his medical
practice with the creative force of
his art to produce large-scale wheatpaste
photographic installations on
buildings throughout the reservation
and cities across the United States.
The images feature local people,
many of whom face economic hardship
and social prejudice. Thomas’s
installations act as a tribute to the
local culture and a defiant declaration
that the resilient community
deserves respect and visibility.
- Amelia Rina
Can you talk a bit about your
background and how you ended
up on the Navajo Nation working
with the local community?
I finished medical school in 1983,
which the federal government paid
for through a program called the
National Health Service Corps. At
the end of my training I had a fouryear
obligation to pay the government
back with time, as opposed
to money, and I chose to do time
here on the Navajo Nation about
two hours north of Flagstaff, AZ.
Was photography your first
entry point into your art
practice? When did you start
making photographs?
I’m not formally trained. I’m from
North Carolina originally, and I was
going to start junior high school in
1969, the same year the public school
system desegregated. My parents
were concerned about the amount
of violence that I would face, and I
ended up attending a small Quaker
junior high school. I first used
a darkroom and a camera at that
school when I was about thirteen.
When I came to the Navajo Nation,
it occurred to me that I had never
taken the time to study photography.
I knew what I liked and the
style that I gravitated to, so with
the help of photographer friends in
Flagstaff, I started teaching myself
darkroom techniques. I built
a darkroom my first year here in
’87, and as frequently as possible I
would go out into the community
and attempt to shoot in a documentary
style, telling people’s stories.
15

CHIP THOMAS AKA JETSONORAMA
Can you tell me about your recent
installation in the Arrowhead
Village and how that started?
My interest in the situation started
a few years ago when I heard that
Northern Arizona University was
trying to buy the property where
the trailer park is, which is zoned
for low-rent housing. The university
wanted to develop the area to build
more student housing. I don’t know
the series of legal maneuvers that
happened to prevent the university
from getting that land, but I think
a different person purchased it and
decided he wanted to get it rezoned.
The new owner gave the residents
of this community six months to
vacate the premises. Apparently
they were given an extension of
another two months, and during
this time an activist group in Flagstaff
called Repeal Coalition was
working with residents to attempt
to block the sale and rezoning.
With those efforts failing, they
went to the city council and asked
its members to make money available
to residents to help with their
relocation. The problem is, many
of the people living in this community
are undocumented and
don’t have the necessary paperwork
to receive a large cash payout.
As an alternative, Repeal Coalition
has been hosting fundraisers
so they can pay people cash, and
they approached me with the idea
of doing an unveiling as an opportunity
to raise awareness about
the issue, but also attempt to raise
money for some of the families.
The images you’ve been posting
are so moving. Besides being
beautiful photographs, what
makes them particularly affecting
is the fact that you’re putting the
interiors of these structures - the
people who live there and their
stories - on the exteriors, so that
they confront the people who
are trying to evict this tight-knit
community. You force viewers to
at least acknowledge the humanity
they could otherwise ignore.
I think you nailed it. My goal is to
convey a sense of the community
and humanity of the people who
were in this space, and who are frequently
overlooked. The entire time
I was installing work, I was saying
to the tenants and to anyone who
stopped by that I just wish there was
something more that we could do
something more than just show the
people who are here. I don’t think
there’s anything more that can be
done at this point in terms of stopping
the process; it’s already well underway.
But, ultimately, if people are
touched by the stories, then perhaps
if a situation like this comes around
again, more people will be involved
at the city council level to oppose
the dissolution of the community.
I would like to see people just
appreciate our shared humanity
and think about each other
a little bit differently.
Another thing I wanted to talk to
you about is your widely varied
interests. You’re an artist and a
physician; you cycled from the top
to the bottom of the African continent
in nine and a half months.
I got a Guinness world record for
that trip: the fastest crossing of the
African continent lengthwise.
Photo: End of the Encuentro
by Jetsonorama, 2017.
Chip Thomas’ artwork is used
for Border Encuentro by SOA
Watch, a movement working
to: End US economic, military
and political intervention in
Latin America, and ensure
the closure of SOA/WHIN-
SEC; end Plan Merida and
the Alliance for Prosperity;
ensure demilitarization and
divestment of borders; end
the racist systems of oppression
that criminalize and
kill migrants, refugees and
communities of color; and
ensure respect, dignity, justice
and the right to self-determination
of communities.
16

ART CAN BE USED TO FOSTER
COMMUNICATION AND GET
PEOPLE EXCHANGING IN A
WAY THAT STEREOTYPES
ARE CHALLENGED AND
BROKEN DOWN.
17

CHIP THOMAS AKA JETSONORAMA
Top: Ben (water-is-life) by Jetsonorama, 2012.
Bottom: Sam Minkler by Jetsonorama, 2019. Photo by Jon Dietrich, 2019.
Sam says “faces are sacred. faces are beautiful. we walk on the face of the earth. the
mountain is a beautiful, sacred place that needs to be protected. in beauty i walk”.
18

A BOOK OF ACTIVIST ART WAS PUBLISHED RECENTLY
TITLED “WHEN WE FIGHT, WE WIN.” I’D ALTER THAT
BY SAYING WHEN WE FIGHT TOGETHER, WE WIN.
Chip Thomas at work in Telluride on a mural for for Telluride Mountainfilm festival. Photo by Jim Hurst, 2016.
The mural photo taken by Jetsonorama is of Diné activists speaking to the decreation of a
sacred mountain in flagstaff, AZ: “what we do to the mountains , we do to ourselves”.
19

CHIP THOMAS AKA JETSONORAMA
INVOLVED
GET
Poster for the Peoples Climate Movement;
Photo and design by Jetsonorama, 2017.
ADVOCATE
Chip Thomas’ work
always speaks to larger
social and environmental
issues. He describes
ways to get involved
in his advocacy on his
blog: jetsonorama.net.
His work also supports
and is used by the
Peoples Climate Movement
to advocate for
environmental sustainability.
To get involved
in their efforts, visit:
peoplesclimate.org.
TEXT BY SHAUNA CURRAN
20

EFERENCES
REFERENCES
REFERENCES
Dietrich, J. (Photographer). (2019). Sam Minkler by Jetsonorama [Photograph]. Retrieved from https://hype-hub.com/author/dietrich
jd/13996034/
Frost, K. (2012, November 12). Painting the painted desert. National Geographic. Retrieved from https://www.nationalgeographic.com/
travel/intelligent-travel/2012/11/12/painting-the-painted-desert/#close
Gross, R. (n.d.). Jetsonorama. NEA arts magazine. Retrieved from https://www.arts.gov/NEARTS/2014v2-story-our-culture-arists-placecommunity/jetsonorama
Hurst, J. (Photographer). (2016). Chip on a ladder. Retrieved from https://jetsonorama.net/me-on-ladder-jim-hurst-3/
Jetsonorama. (Artist & photographer). (2019). Rose Hurley with her great grandson [Photograph]. Retrieved from https://jetsonorama.net/
portfolio/2017-2/#jp-carousel-3197
Jetsonorama. (Artist & photographer). (2018). Arrowhead village installation [Photograph]. Retrieved from https://bombmagazine.org/arti
cles/putting-interior-on-exteriors-chip-thomas-interviewed/
Jetsonorama. (Artist & photographer). (2018). Joshua Tree installation [Photograph]. Retrieved from https://bombmagazine.org/articles/
putting-interior-on-exteriors-chip-thomas-interviewed/
Jetsonorama. (Artist & photographer). (2017). Rose and Paul Hurley [Photograph]. Retrieved from https://jetsonorama.net/tag/nava
jo-street-art/
Jetsonorama. (Artist & photographer). (2017). Poster for peoples climate movement [Photograph]. Retrieved from https://progressive.org/
dispatches/practicing-medicine-and-art-on-the-navajo-reservation-a-conv/
Jetsonorama. (Artist & photographer). (2017). End of the encuentro [Photograph]. Retrieved from https://jetsonorama.net/#jp-carou
sel-3374
Jetsonorama. (Artist & photographer). (2016). Uranium contamination [Photograph]. Retrieved from https://jetsonorama.net/portfo
lio/2016-2/
Jetsonorama. (Artist & photographer). (2014). Mary Reese Manna [Photograph]. Retrieved from https://jetsonorama.net/portfolio/2014-2/
Jetsonorama. (Artist & photographer). (2012). Ben (water is life) [Photograph]. Retrieved from https://jetsonorama.net/portfolio/2012-2/
ben-water-is-life/
Justseeds Artists’ Cooperative. (2019). Chip Thomas. Justseeds Artists’ Cooperative. Retrieved from
https://justseeds.org/artist/chipthomas/
Kirk, D. (2017, April 11). Practicing medicine and art on the Navajo Reservation – Chip Thomas a.k.a. Jetsonorama. The Progressive. Re
trieved from https://progressive.org/dispatches/practicing-medicine-and-art-on-the-navajo-reservation-a-conv/
Kish, D. (Photographer). (2016). Chip Thomas with his mural at Cow Springs [Photograph]. Retrieved form https://doradomagazine.com/
the-big-picture/
Knight, B. (Photographer). (2015). Step [Photograph]. Retrieved from https://jetsonorama.net/the-painted-desert-project/#jp-carousel-3221
Moon, B. (Photographer). (2018). Chip Thomas [Photograph]. Retrieved from https://www.inthistogetheraz.org/blog/2018/8/7/
chip-thomas
Pier, A. (2017, September 22). Navajo nation artists respond to the threat of uranium radiation. Hyperallergic Media Inc. Retrieved from
https://hyperallergic.com/401017/navajo-nation-artists-respond-to-the-threat-of-uranium-radiation/
Rina, A. (2018, July 19). Putting interiors on exteriors: Chip Thomas interviewed by Amelia Rina. Bomb Magazine. Retrieved from https://
bombmagazine.org/articles/putting-interior-on-exteriors-chip-thomas-interviewed/
Rojo, J. & Harrington, S. (2017, April 13). Chip Thomas invoking life back into a house for 2017 Joshua Treenial. HuffPost News.
Retrieved from https://www.huffpost.com/entry/chip-thomas-art_b_58ec11e8e4b0145a227cb7c0?guccounter=1&
guce_referrer=aHR0cH6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAAMKJDK8HysWTufNhWgYUJorLc76g
g2JLwa7i-a6Wf-x197B7XZfRcTDYnMN-JbHTHXTxJkPdeuxZ2yVGHWGIKA4JKvPCvnk5-XBVYNyrlFPra2OMoh8Ah
fviDGndlntM-HOLgSXNfbSqmlZkocYp1UR0ePX6mO-aSeoVCf97AMV-aSeoVCf97AMV
SOA Watch. (2019). Our demands. SOA Watch. Retrieved from https://www.soaw.org/border-encuentro/
Stephens, M. (2016, January 29). Border/arte interview with Chip Thomas [blog]. Retrieved from http://www.marystephensaz.com/blog/
borderarte-interview-with-chip-thomas
Thomas, C. (2016, February 1). Border/arte interview with Jetsonorama. Justseeds Artists’ Cooperative. Retrieved from https://justseeds.
org/borderarte-interview-with-jetsonorama/
Thomas, C. (2011). The people speak [web log comment]. Retrieved from http://speakingloudandsayingnothing.blogspot.com/2011/12/
koyaanisqatsi.html
Thomas, C. (2019). About [blog]. Retrieved from https://jetsonorama.net/welcome/
Young, A. (2015, December 1). 5 earths: Chip Thomas at Chartreuse Gallery. Java Magazine. Retrieved from https://javamagaz.
com/?p=925
FOR MORE CHIP THOMAS VISIT:
HTTPS://JETSONORAMA.NET/
21

THE GOOD FIGHT
An exhibit about art + activism.
Jetsonorama shares stories to start
conversation and create social change.
SOME OF THE IMAGERY I CHOOSE
TO USE IS CONTROVERSIAL. SOME
OF IT IS BLATANTLY POLITICAL...
I’M WILLING TO TAKE THE HEAT FOR THE IMAGERY THAT I USE,
BUT I FEEL THAT IT’S COMING FROM A GOOD PLACE. I FEEL
THAT I’M FIGHTING THE GOOD FIGHT AND AT LEAST OPENING
A DIALOGUE AROUND DIFFERENT TOPICS.
- CHIP THOMAS