Born in Winnipeg, Manitoba, Canada (b.1976), Tim Barnard spent most of his youth in Alberta, California, Washington State and British Columbia absorbing experiences in the fields of graphic design, tattoo art, comic books and the frontier lifestyle in general. Developing a hard edge black and white style that speaks to contemporary art and historical automatism, he re-contextualizes popular visual media into a hyper-surreal psychic road map of his consciousness and the consciousness of the world around him.
Born immersed in western culture and its graphic vernacular at a sea change between the old analog age and the expansive digital horizon, the flood of multi-faceted imagery has seduced our eyes and our imaginations for decades. Whatever the aim of these images, they have buried themselves in our consciousness and to various degrees have implicated themselves in our lives. Constantly interpreting and reconstructing these visual codes has been a deep obsession, just as much as it has been a neurotic compulsion. By stripping away the baggage of color, a clinical dissection occurs. Inner and collective psychological landscapes find neutral ground in the black and white treatment. Through the use of hard edge graphic media, each line becomes accounted for in its relationship to the whole. Much of the material is routed through an extensive inventory of graphic devices hoping to reclaim imagery from alternate implications. A fast read and it could be seen as perhaps a cartoon or even an ad for a psychedelic movie, but comprehension of meaning becomes subverted, providing us with a formal, almost abstract mass of energy that is at once foreign and familiar. Relying predominantly on the tradition of automatic drawing and collage, the creative impetus, and its external programming, have the possibility of being located, understood and optionally reconstituted. In this process of redefinition, original intentions can be re-contextualized and even negated providing us with what Rene Magritte referred to as the “ the sparkling poetic effects that could be achieved by dislocating everyday objects from the context of reality.” It seems that it is this “sparkling effect” that is the aim of producing this intuitive work.