I have been an artist in photography, video art & performance art, and since 1994 in printmaking showing in regional, national and international exhibits. My work of the last few years has involved the exploration of photography and printmaking as a hybrid medium of expression. The work isn't contained within a genre, although landscape and still life studies dominate, but shows concern with texture, the hand manipulation of the image and surface.Â
  For me photography is another way to create images. My Dad gave me a 35 mm camera when I was 11, as I was constantly 'borrowing' his whenever I could get my hands on it; when I was 13 I entered my first photography contest.
  Later all through Viet Nam and four years in the military I carried a camera - both as a way of interpreting what was happening to me and those around me, and to distance myself from it.
  I exhibited photography off and on until I began a career in cinematography and video in the late seventies and received a Master of Art in 1979 from the University of Missouri-KC. I taught mediated communications at Haskell Indian Nations University and later at Northern Illinois University. By 1986, bored with documentaries and commercial video production and seeking to return to the single image, I started a graduate program in studio art, while keeping my day job of producing educational programs in the arts. I found myself taking addition course-work in photography and worked with traditional printmakers in documenting their workshops and classes.
  Upon gaining my MFA, I a took a course in printmaking, and it was a zen moment in the studio: working the plates, inking, pulling prints. A wholly different tradition of the single image, a completely new toolset for me drew me. This was in 1992, and led to 18 hours of post-grad work with intaglio and relief techniques and many more hours with David Driesbach of Miracle Press who for years was the finest example of a person and an artist I'm sure I will ever know; for over a decade he invited me in to document the activities of Miracle Press and the yearly week long master printmaking sessions - his humor and technical skill shows me the way still.
  In 2002 I picked up a digital camera, mostly to record textures I found in wood, stone, mud, and textiles as references in printmaking, and I started thinking immediately about photography from the point of view of a printmaker.
  So I feel that I finally understand enough about the images that I respond to, and most importantly about the images I need to make, to take the journey as photographer and printmaker. Artistic life is full circle, I'm back to that happy kid seeing things truly for the first time in the view finder and the mind's eye, revealed on the plate and paper.
www.timburns-art.com for other work and background information; this functions as an on-line portfolio for me.
tim
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Comments (17)
november22
BTW, with so much hand work this is not editioned: 1 of 1 so to say.
NekhbetSun
Hope you know how much I love everything you post here Tim...just exactly my cuppa tea !....awesome stuff
goido
This is wonderful! I love your artwork! I am also very intersted in your process. I only wish the file was bigger to enjoy the details more.
rocserum
you're a real artist! wonderful work! RS
nikolais
looks like batic. most appealing work!
marybelgium
beautiful !
mooreno
outstanding
2Loose2Trek
Very cool work Tim ... beautiful!
Fidelity2
Very well done. 5+!!!
ekatz
this is amazing, the original must look so great
chesscanoe
Dancing and storytelling; what a super life depicted!
anahata.c
wish i were clearer because it's hard to find words for this...I agree it's dancing & storytelling. It's one of your dream-like images with real-life clarity and yet that patina of dreams you get in several pieces. You've not only given us the orange-ish hue of the tree-trunks (as if they were picking it up from the ground) but dappled them with it—freely in spots, as if a power came down and spread around the wealth. The ground seems a reflection (because of the verticals) but also like veined earth; it's almost liquid...and the curvy & porous border is perfect for the piece. With your various techniques & underpainting, etc., you create layered presences that are often thought possible only in the digital realm; yet your work is both analog & deeply tactile. This is beautiful. An encapsulated fleeting vision...
dpenta
Very dynamic, i could swear I saw the branches sway..
arcavee
Very nice.
Cgaynor
Beautiful!!!
anaber
Beautiful tones of brown / burned...It´s a fine work.
stboettcher
excellent work, wonderful colors and textures/structures.