Issue 28: Movement
The sartorial template of an artist, the doll’s right arm was sewn permanently in teapot pose. Its smock was golden, glittery, and ill-suited to hard work, its head ennobled with a felt beret. Its gaze was disinterested and unflinching, reminiscent of another’s, perhaps one cast from across the glazed shoulder of a porcelain Jayne Mansfield.
The appointment had been arranged to discuss the possibility of transforming a lethargic object into a dynamic one. He was optimistic the doll could transcend its drowsiness and become a puppet, but also certain this transformation would require professional attention.
He had agreed to pay the puppeteer fifty dollars, for a maximum of one hour’s advice, received inside the puppeteer’s studio. The agreement allowed for a record of the conversation to be made for posterity, using a video camera and a lapel microphone. The puppeteer had suggested that a bottle of red wine would be sufficient payment, however he couldn’t find a liquor store en route to South Melbourne that morning.
Tim Woodward is an artist living in Melbourne. He employs a multidisciplinary approach to making, working with a range of mediums and forms including the production of video, audio recordings, text, sculpture, installation, and public events. Mixing fictive or poetic reasoning with more formal methods of research, his practice is concerned with the manipulation and re-imagining of existing cultural objects and images.
Woodward is a recipient of the Art & Australia Credit Suisse Contemporary Art Award, The Ian Potter Cultural Trust Grant, The Melville Haysom Memorial Art Scholarship, and the Studio in Paris Scholarship awarded by the Art Gallery of New South Wales. He has exhibited at the Queensland Art Gallery | Gallery of Modern Art, Brisbane; West Space, Melbourne; Contemporary Art Tasmania, Hobart; Adult Contemporary, Perth; and the Jogja National Museum, Yogyakarta. Woodward was a founding member of Boxcopy (Brisbane) and a co-director from 2007 to 2011. He is represented by Darren Knight Gallery (Sydney).
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