Tim is a multimedia artist. For one piece, he worked with a Reggae band; for another he worked with a Nigerian Rastafarian and four drummers. Usually he works alone or in collaboration with the composer Arne Hanna or the visual artist Ruth Hingston. He’s been making multimedia works for more than forty years, collaborating with composers, performers, choreographers, theatrical directors, visual artists and a poet.
Tim enjoys the excitement and the risks of collaboration.
He appreciates the depth and richness that collaboration can bring to a
work—there’s always something unexpected—and
he also admits to
one or two disasters.
Tim combined his photographs with recorded sound and commissioned music.
He projected slides onto surfaces, blending the slides one after another
to produce a sequence of slowly changing images.
He describes a slide-tape work as
an invitation to make connections—an audience
is invited to observe not things but relationships between things.
Meaning appears in the space between the images.
Now he uses digital animation software to produce the same effects on a computer screen.
Tim’s completed works are often idiosyncratic.
Usually they are visually rich and alluring.
Sometimes they toy with clichés. Always they invite reflection.
You’ve got to respect your audience he claims.
You’ve got to give your audience credit for having brains and imaginations.
Leave them space to have their own ideas.
But he still sees a rôle for the artist,
by the same token, you mustn’t cheat your audience by giving them something empty,
something self-indulgent. You have to put in plenty of hard work yourself—make
sure there’s enough substance to justify paying attention.
Tim’s audio-visual work began in 1980, when he was invited to collaborate with the composer Adrian Keenan. At that time, Adrian was creating musique concrète—he was making music by blending and manipulating environmental sounds on a reel-to-reel tape recorder. Tim used equivalent analog techniques to blend and manipulate visual images. He did this first in space, in the picture plane, and then, like a musician, he blended and arranged the images in time. The result, a combination of Adrian’s music and Tim’s slide sequence, was called About Time!.
As a photographer, Tim was originally known for documenting the work of visual and performing artists. Since 1994, much of his work has been a close study of surfaces—their textures, patterns and colours. He has also photographed reflections.