Tim Shore is based in Derby. He studied Graphic Design at Wolverhampton Polytechnic (1984) and has an MA in Animation from the Royal College of Art (2002). He works with moving image, drawing, text, and installation. Shore’s practice is concerned with the impact of technology on society and the individual. Recent work has explored the relationship of craft to the digital and examined the corporeal presence of the maker – evidenced in measurement, materiality, movement and form – and its incremental translation and replacement by the tool, machine and computer.
In 2014 Tim was a beneficiary of a New Opportunities Award, part of New Expressions a programme – for which CVAN EM was a partner – establishing a national approach to collaboration between contemporary artists and museums and made ‘Blind Spot‘, a film installation for The Workhouse in Southwell, Nottinghamshire.
Describe your practice for us:
I trained in Graphic Design and Animation. The analytical and constructed elements of both disciplines inform my approach to image making and meaning. I’m interested in the history and impact of automation on society. Recent work has explored the tension between the corporeal presence of the ‘hand-made’ and its incremental replacement by the machine. I’m comfortable with deconstruction – with making and unpicking – the animator in me still thinks sequentially frame by frame – it’s important to me to make the process of making (however it is made) visible, because increasingly the computer is becoming a tool that makes process autonomous and opaque.
How long have you been practising?
On and off and around the day job for about 11 years.
What is the most interesting/inspiring thing you have seen/been to over the last month, and why?
Simon Armitage’s reading at the Derby Book Festival because he’s funny, dour and angry. And this is cheating – because it’s a couple of months ago – but I was intrigued and captivated by Sophie Clements’ video triptych ‘There, After’ for the ‘Except the Mirror’ exhibition (Format 15) at ArtSmith Live in Derby (April 2015). In a 360° dance, pieces of wood magically lift, form and fall, to a thunderous soundtrack of wooden tintinnabulation.
Which other artists’ work do you admire, and why?
I like Cornelia Parker’s work – her engagement with materials, process and alchemy – which makes me think of Sophie Clements again! Conrad Shawcross’ machines for their physical presence. The complexity and iterations of Sophie Calle’s work ‘Take care of yourself’ which I saw in Venice (2007) made a lasting impression on me. Again it comes from a methodical and structured approach to process and although it is less about tangible materials than Parker or Clements – it also revels in deconstruction, iteration and it plays an extended game of re-presenting language, communication and text.
Where can people see your work?
My work can be viewed on my website and BlindSpot features on the New Expressions 3 website.
Tim was first interviewed in July 2015.
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