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dc.contributor.authorTimberlake, John
dc.date.accessioned2008-10-09T10:30:18Z
dc.date.available2008-10-09T10:30:18Z
dc.date.issued2007
dc.identifier.citationIn: New Gallery Walsall, Gallery Square, Walsall, UK
dc.identifier.urihttp://hdl.handle.net/2436/38791
dc.description.abstractA solo exhibition of 10 framed photographic ink jet prints with drawing (108cm x 86cm). The installation addresses issues of realism and fiction in photography, and the construction of utopias and dystopias through the conceits of paradigms of realism, furthering Timberlake’s work concerning humanity, science and landscape. Timberlake is specifically interested in what kind of truths we expect from photography and drawing, in the context of his continued engagement with landscapes of the imaginary, and the role of photography in the construction of histories. In this series contrasts in scale and grids were combined with shifting perspectives to create compelling, unsettling and provocative images. The use of a large format rail camera allowed for an extended plane of focus and angled horizons similar to that of aerial photography; albeit over a very small patch of photographed land. In this way a field of detail was produced with a fragmented map of imagined spaces replacing the figure/ground dyad seen in some of the earlier work (for example the “Another Country” series). In this way Timberlake has sought to bring into question the position of the viewing subject.
dc.language.isoen
dc.relation.urlhttp://www.wlv.ac.uk/Default.aspx?page=15916
dc.titleColony
dc.typeDigital or visual media
refterms.dateFOA2019-12-05T13:11:36Z
html.description.abstractA solo exhibition of 10 framed photographic ink jet prints with drawing (108cm x 86cm). The installation addresses issues of realism and fiction in photography, and the construction of utopias and dystopias through the conceits of paradigms of realism, furthering Timberlake’s work concerning humanity, science and landscape. Timberlake is specifically interested in what kind of truths we expect from photography and drawing, in the context of his continued engagement with landscapes of the imaginary, and the role of photography in the construction of histories. In this series contrasts in scale and grids were combined with shifting perspectives to create compelling, unsettling and provocative images. The use of a large format rail camera allowed for an extended plane of focus and angled horizons similar to that of aerial photography; albeit over a very small patch of photographed land. In this way a field of detail was produced with a fragmented map of imagined spaces replacing the figure/ground dyad seen in some of the earlier work (for example the “Another Country” series). In this way Timberlake has sought to bring into question the position of the viewing subject.


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