From the Body to the Landscape is aptly similar to a play written in 1977 by American playwright John Guare: Landscape of the Body.
It depicts the ghost, Rosalie, who was killed on a Greenwich Village sidewalk by a 10-speed yellow Raleigh bicycle, flicking back and forth through time. At one moment she is grateful for her death the next hungry for carnal experience.
There is the same bleakness in Tim garner’s work but also the same fascination and ultimate love of the body and the flesh.
Rosalie reveals an endless ache of longing for life on earth. In the same way Tim Garner creates this almost duplicitous impression of the physical.
For many years his work circled on the body and the erotic. The photography from this period is extremely powerful but ultimately led him to question the nature of desire. How could something so driven and hungry be positive or fundamentally creative?
Perhaps like Rosalie this work took him to the core of human suffering: the awareness of corruption in our own bodies, death circling in.
Tim Garner took this depth of awareness into his work with the landscape. The body and the physical world are two of a kind, and Tim has managed to look at the Northern landscape without sentimentality and with the same desire and fear we all share for the physical world.
There is a love and positivity but clothed in gritty reality. The landscape and the body will always draw and disturb the human mind because they threatens our sense of a permanent self through death and decay.
Tim Garner has used this journey as a way for his work to evolve. By exploring the landscape he has discovered a deep appreciation for physical reality as it is, not how we would like it to be. From here he has begun to return to figurative work, newly inspired with an appreciation of how much the body can offer if we respect it for what it is too.
It is this aptitude for exposing this life of ours that makes his work so magical. To discover more about Tim Garner’s work click here.