i   It is not clear what part emotion plays in how we see, and in what is recorded. The ephemeral occurences of daily life often go unnoticed and ignored, along with any metaphoric meaning that might be gleaned from these fleeting events. Reflections, palimpsests, the interplay of texture and transparency are passing perceptions that together point toward meaning in an open manner, a way of no content.


n   Three dimensional work has objective advantages. One drawback with internet projects of all kinds is the fact that when you shut down your computer your work disappears from sight. This is a nuisance.
Making things by hand takes some of the sting out of it all.


t   Mugger's Tears, 1999 This installation work was created as a two projector loop of forty images in two 'chapters', with accompanying text extracts from James Joyce's Finnegan's Wake. A single screen was mounted high in the corner of a mirrored stairwell in a New York nightclub. Cross-fading images
cycled through a narrative of loss, desire, otherness and conflict before dissolving into abstraction. The work was presented to the public in March 1999.


e   Julian, 1994
This is an image of my son, then 3 days old.


r   Bangalore, India 1991
In some respects, I came of age in India while travelling alone there years ago.
A profound personal solitude was reconciled within the all-encompassing hub-bub of Indian life.

This image was taken on a later visit, and was published in Asian Art & Culture, Arthur M. Sackler Gallery,
Smithsonian Institution Spring-Summer 1994


f   Paranomic View, 1991
wood, collage, oil, acrylic, sand, objects and fabric in a Rajasthani kitchen cabinet-frame 18x18x4 in.
The suspicious title comes from a mispelled billboard in Udaipur, India. The dictionary definition?
paranomia - an aphasia characterized by the incorrect naming of objects.


a   Every August for the last decade, I have hiked the mountains of Ariege, a region of old Catalunya in the French Pyrenees. The Lakegarden series is comprised of efforts in a variety of media to trace the abstract calligraphy latent in the apparently 'random' lines of nature.


c   Bathers, 1990 In this collage of infrared photograpy, the heat of the flesh is recorded as a delicate blue bouyed by the absent cool of the water.


e   EXTENDED CONNECTIONS, 1994-99

The narrative propelling this work is a sequence of journal notes written over a two week period while in Florida recovering from a broken tibia. Editing took the form of minor revisions only; I did not tamper with the ordering of the notes.

The images chosen to accompany the text come from my archive of photographs and drawings, with these exceptions: the peep show and the episode of fellatio are digital collages of scanned material; the illustration of hands holding a gravity propellor is public domain clip-art.





© 2000 Timothy Trompeter