When Timothy D speaks of an “information dark age” he is not talking about a lack of information. D’s dark age is more about content and while the Internet might be a force for liberation its sinister side will fascinate artists for many years to come. The Internet is Timothy D’s shadowy playground. His innocuously titled and net-centric exhibition Video:Music consisting of video, sound and drawing is, upon closer inspection, perverted and voyeuristic. D is of the last generation of artists not born with the Internet, but who have grown up in its omnipresent company. This exhibition reflects not only an enduring relationship with the net but also covers the period of its rapid development.
The source material for Timothy D’s work is not only the flood of images found on the Internet. He also speaks of the influence of the Flicker or the Structural film movement of the 1960s and early 70s. The proponents of ‘flickers’ challenged the hegemony of mainstream cinema by treating film as the projection of still images presented in very quick succession and celebrating the flickering effect of silent movies of the 1920s. While the sense of the raw physicality of film has been all but lost to the seemingly intangible technologies of digital video, the basic concept of clashing stills remains. Thus D focuses on the endless illusions created by passing images and the effects on human consciousness. Along with his composed soundtrack that augments a sense of conflict between image and sound he, like avant-garde or experimental film makers, aims to generate a disorienting environment in the gallery that will fracture the audience’s understanding of virtual and video imagery as it is encountered in everyday 21st century life.
Adapted from catalogue essay by David Broker; photograph by Brenton McGeachie.