'At 32,000,000 Metres'
Full Colour Digital Image
Edition of 1 printed and sold at GSA showcase
A1 Print Mounted on Aluminium

Some documentation of the work I was making for my degree show installation.

'At 32,000,000 Metres' 
3 Colour Risograph Prints on A3 250gsm.

BUY PRINT HERE:   http://timdalzell.bigcartel.com/

In May 2014 I lost my degree show installation in the tragic fire at the Glasgow School of Art.

'At 32,000,000 Metres' is a digital representation of the installation I made, printed on A3 using a risograph printing process. All money raised from prints sold will go directly towards material costs as I begin to reconstruct work lost in the coming months.

I’m also showing a full colour A1 print of the image in our ‘showcase’ next week, I’ll post the image on here once the show has begun.

As i’m sure many of you have heard on the news, The Glasgow School of Art was struck with a tragic fire on the day of our deadline as we set up our final degree show installations. Like many others at the school, I lost work that took hundreds of hours and a lot of money to make.
The Art School has responded really positively and has already announced plans to offer bursaries that will provide us with free studio space for 6 months and perhaps even funding towards our material and living expenses. Whilst this news is really positive, such a large task will inevitably take months to put in place.
I’m in the early stages of planning the reconstruction the installation I lost but in order to do so I first need to raise some funds to cover basic material and construction costs that will allow me to get started. To help with this I have made some A3 risograph prints that i’ll be selling on Big Cartel, images and link coming shortly..

As i’m sure many of you have heard on the news, The Glasgow School of Art was struck with a tragic fire on the day of our deadline as we set up our final degree show installations. Like many others at the school, I lost work that took hundreds of hours and a lot of money to make.

The Art School has responded really positively and has already announced plans to offer bursaries that will provide us with free studio space for 6 months and perhaps even funding towards our material and living expenses. Whilst this news is really positive, such a large task will inevitably take months to put in place.

I’m in the early stages of planning the reconstruction the installation I lost but in order to do so I first need to raise some funds to cover basic material and construction costs that will allow me to get started. To help with this I have made some A3 risograph prints that i’ll be selling on Big Cartel, images and link coming shortly..

‘/TP 12550820 129 0 ?!’ (2014)

‘/TP 12550820 129 0 ?!’ (2014) is an installation work that I showed in the recent ‘Beyond The Oort Clouds’ exhibition. It consisted of several sculptural components and an interactive sound piece that could be controlled via a MIDI keyboard.
My intention for the work was to present the viewer with a physical environment close to that which they may typically only experience in a virtual realm. By translating and combining artefacts from real, virtual, artificial and imagined spaces, I hoped to create a situation that felt familiar yet new, stimulating and surreal.

‘/TP 12550820 129 0 ?!’ (2014) is an installation work that I showed in the recent ‘Beyond The Oort Clouds’ exhibition. It consisted of several sculptural components and an interactive sound piece that could be controlled via a MIDI keyboard.

My intention for the work was to present the viewer with a physical environment close to that which they may typically only experience in a virtual realm. By translating and combining artefacts from real, virtual, artificial and imagined spaces, I hoped to create a situation that felt familiar yet new, stimulating and surreal.

Poster for my recent exhibition with Richard Krantz.

Poster for my recent exhibition with Richard Krantz.

'Vinewood Hills Cross Section' (2013) - 54x54x51cm

MDF, wire mesh, plaster, paint, model sand, model bushes, balsa wood.

This sculpture translates a cross-section of the Vinewood Hills from Grant Theft Auto into a physical scale-model. It’s function is left unclear creating an object that could be an architectural model, film prop or stand-alone artwork. The layers of sediment beneath the ground-level raise further questions; we are left to consider whether or not the model aims to be representational or aims to make us think about the structure of video game graphics.

'36 Cell Landscape' (108x108x72cm)

This new work takes inspiration from isometric computer game graphics of the early 2000’s to create a physical landscape translated from the virtual space. Artificial grass and felt were used to create the block brown and green colours that are often used to portray grass and earth. The form of the sculpture was defined by precise angles based around the isometric grid and so its structure contrasts severely to that of a typical ‘real life’ environment.

Some images of the scaled-up lego palm tree made by myself and Richard Krantz for our piece ‘#2518, 2536, 2563, 2566, 3958’ (photographed away from the exhibition context).

Individual close-up photographs of the scaled up K’nex pieces made collaboratively with Richard Krantz (shown away from the exhibition context)

Tim Dalzell & Richard Krantz - ‘1:8’

In this series, again created collaboratively with Richard Krantz, we scaled K’Nex connector pieces up to 8 times their original size. The blue and pink pieces are ‘fictional’ creations; they were never K’Nex pieces but instead were drawn out by Richard and myself.

In order to make the work we initially drew out the pieces on Illustrator. We then laser cut them from 8mm mdf & ply and stacked, sanded, filled and painted them to create the finished objects. We were interested in their ‘sci-fi’ aesthetic and geometrical qualities. By scaling them up and presenting them on stacked bricks we aimed to blur their original context and function, perhaps suggesting that they could be industrial/construction objects.

Tim Dalzell and Richard Krantz - ‘#2518, 2536, 2563, 2566, 3958’

A recent work made collaboratively with Richard Krantz that features a lego palm tree scaled up to around 6 and a half times the original (13:2). The tree itself is made from cardboard, mdf, plaster and spray paint. The scale was chosen in attempt to create an awkward object that didn’t reach the height of a real palm tree but made apparent the differences between the Lego creation and the ‘real’ thing. By using juice and attempting to create an island on the water, our aim was to create artificial feelings of the ‘exotic’. Adding to the smell created by the juice were scent’s provided by Clara Ursitti providing a fruity, pineapple smell around the gallery, further adding to these artificial representations of paradise.

Put on an exhibition the other night with some friends in my year - some overall shots here. The show included 2 pieces that i’ve been working on collaboratively with Richard Krantz as well as a solo film piece.

In this film I aim to transform/reduce 2001: A Space Odyssey in to a 3 minute long music video. I created the track entirely from audio samples taken from the film (with altered pitch and added reverb/delay). The visuals correspond to where the audio was sampled and therefore repeat like the sound loops creating a rhythm both visually and auditorily.

In creating this work I aim to question where the boundaries lie between art, music, the feature film and music videos. Within music today the process of sampling older material to create a new sound has become common and I’m interested in how this same working method could be applied to film.

The track itself is fairly ambient, mainly due to the use of such a limited source, but this will hopefully allow the viewer to consider the audio as a generic music track, film score or art piece and draw conclusion as to which it may be.