Artist's Statement

Decades ago as a painter, I found my vision going beyond what I found possible with paint, however, my experience as a painter has continued to inspire my work. I decided then to adopt light as my principal medium. This decision has guided me in an ongoing investigation now extending over 50 years. My recent work is comprised of three overlapping mediums – abstract photography [1], images from sound [2], and computer graphics [3]. Here are a few examples of each.

[1] The abstract photographic compositions were made from arrangements of objects designed to emphasize the properties of light – such as refraction and reflection – rather than the objects themselves. I assembled a custom camera that made it possible to create the extremely detailed arrays of images necessary for my often mural-sized works.  I used each array of up to 20 images as a starting point for each abstract composition.  This process combines elements of both painting and photography.  You can see more of these images at this link: Still Life Compositions

[2] The second direction and group of images were created using devices and methods I invented to create imagery directly from sound.  This process is related to my work in the 70’s with electronics and music synthesis. The sonic works are a mix of these older technologies with contemporary computer graphic techniques.  There are numerous still image studies as well as animated pieces using sound and video.  The still works are refined and developed using photographic techniques.  The animated works begin as musical compositions which are imaged and refined using video editing techniques. You can see more of these at this link: Sound in Light Studies.  You can also see an example video at this link: Resonant Gestalt.

[3] The third and most recent technique I use is fully computational, with the entire process occurring interactively using a computer. Like the other two techniques I work to create abstract imagery. I begin by constructing a virtual photo studio in a 3D program that is physically based.  In other words, the software models my physical photo studio in every respect. Interestingly, though this medium is designed to accurately imitate the real world it is no way limited by it. This opens the door toward creating impossible lights, lenses, objects and materials while preserving the look of natural light and materials. This provides another compelling and welcome dichotomy between the real and the abstract.

As all my images are unconstrained by physicality, they may be endlessly reworked and presented as prints on various materials, in glowing light panels or using methods not yet imagined. This is the paint that never dries.

View Tim's videos on his YouTube channel.  More information is available at ForcadeImages.com.

Unframed signed prints of Tim’s work are available on archival paper in sizes starting at 13”x19” and prices starting at $275.