About

Tim Dodds is an Edinburgh based artist who has studied Fine Art at Edinburgh College of Art, Slade School of Art and Chelsea College of Art.

Contact:
timdodds26@hotmail.com

Awards:

2017 Moritz Heyman Pignano Residency

2017 Visual Art Award, Creative Scotland/Edinburgh Council

2015 Visual Art Award, Creative Scotland/Edinburgh Council

2013 RSA John Kinross Scholarship to Florence

2013 Andrew Grant Major Bequest Award

2003 Drawing Year Bursary, Royal Drawing School

2001 Slade Drawing Prize (awarded by Jeffrey Camp)

2000 Slade Drawing Prize (awarded by Paula Rego)

About my work:

I am influenced by the history of painting, especially in the still life genre, and create closely observed paintings from carefully constructed compositions, comprising of handmade sculptures, often made of clay, combined with commonplace objects and materials. Depicting these different types of object is a process interpretation, where they form a distinctive, codified visual language in the finished painting.

When I make the clay objects I’m not working towards any structure, significant form, or external standard. In this sense there’s something personal about them – the clay provides a record or signature of my unselfconscious, more unguarded self that becomes a compelling subject for me to paint. There’s something odd about making close observation paintings of things you’ve made – like you’re looking back at yourself. Through painting the objects’ handmade idiosyncrasies, you’re revealing your own. It’s exciting on an absurd, metaphysical level to feel like you’re observing your own little microcosm of experience.

The objects provide a compositional or formal armature from which the painting develops. It’s like the objects come to life when painted: they form attachments and morph unexpectedly into each other, the shapes and colours create rhythms and vibrations which rebound within the canvas’s edge, they gain a sense of gravity, even heaviness, as they find their place within the picture. There can be a distortion of scale when painted, so that the models suggest huge forms in a landscape. Painting the objects is a concentrated, compulsive and absorbing activity. It’s in these ways that I’m using the object to express something that isn’t really about them but something about painting itself.

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