← Tomatâ du Plenty Archive
Tomatâ Screamers (self portrait), 1999. Mixed media on paper, painted on a page torn from Ernest Thayer's Casey at the Bat.
Carlos Iglesias Collection. Reproduced in the program for Boxers and Backbeats, Georgia Museum of Art, 2014. Pending estate authorisation.

Tomatâ du Plenty Archive · 1948–2000

Did you know him? Do you have something of his?

We're building a permanent archive of Tomatâ du Plenty — the Screamers years, the paintings, the whole coast-to-coast life. Much of it is scattered across shoeboxes, storage units, and memory. If you have a piece of it, we would like to record it properly.

What we're looking for

Photographs & ephemeraSnapshots, flyers, posters, press clippings, backstage film — anything from the Screamers era or after.
The paintingsHe painted for years. We're trying to find where the work ended up — who bought it, who inherited it, who still has one on a wall.
Letters & documentsCorrespondence, set lists, contracts, notebooks, anything in his hand.
RecollectionsYou don't need an object. If you knew him, what you remember is primary material and we'd like to record it.
NamesPeople we should be talking to — and anyone who knows who administers his estate.

How this works

You keep everything you own. Nothing you send here is sold, licensed to anyone else, or used for advertising. You choose how far your permission goes, and you can narrow or withdraw it later by writing to us.

We record who gave us what and how they knew him, because an archive without provenance is just a pile of pictures.

The material

What is it? required

Give it a short name However you'd refer to it — "Tomatâ at the Whisky, blurry" is perfect.

Tell us about it required What it is, where it came from, anything you remember about it. Detail is never wasted here.

When is it from? "Sometime in the early 80s" is a real answer.

Where is it now? If it's a physical object.

Photos or scans Images, PDFs, audio or video. Up to 95 MB each. Phone snapshots are fine — we can ask about a proper scan later.

Choose files, or drop them here JPEG · PNG · TIFF · PDF · MP3 · MP4

How you knew him

Your connection to Tomatâ "My neighbour on Sunset in 1979." "I bought the painting at an estate sale and know nothing." Both are useful — this is the single field that turns material into evidence.

Permission

Pick the level you're comfortable with. Most people start narrow, and that's genuinely fine — we'd rather have your material under a tight permission than not have it at all.

Research only We may study it and use what we learn, but we will not publish or display the material itself. We'll ask you again before anything goes further. Archive We may also display it on this archive site, credited the way you choose below. Archive, book & film We may also include it in a published book, a documentary, or an exhibition about Tomatâ. You keep ownership throughout.

How should we credit you?

Credit line, if you'd like a particular wording

I grant the Tomatâ du Plenty Archive a non-exclusive, royalty-free licence to use this material at the level I selected above. I keep ownership of it. To the best of my knowledge I have the right to share it.

You may contact me with follow-up questions.

How to reach you

Your name

Phone Optional.

City / region

Received

Thank you — that's in the archive now.

We read every submission by hand. If you left contact details and there's a follow-up worth making, you'll hear from a person, not a robot.

If you think of something else afterwards — a name, a date, another box in the attic — please just come back and send it.