Plug the well ( July / August 2003)
- Painting (Painting)
157 x 126cm
Keith Tyson
The work of Keith Tyson is concerned with an interest in generative systems, and embraces the complexity and interconnectedness of existence. Philosophical problems such as the nature of causality, the roles of probability and design in human experience, and the limits and possibilities of human knowledge, animate much of his work. Language as a coded system, as a representation medium, but also as something that generates a whole variety of realities also plays a central role. The heterotopias of the real and imagined, near and far, thinkable and inconceivable converge and find meaning. Using phrases, along with a list of them that could be continued ad infinitum, Keith Tyson creates images that cause the distant and the near, the fictitious and the real to operate from within a location. His media include painting, drawing and installation. His exhibits are hybrid forms, they are games, images, machines, mechanisms that offer places from which literature, inventories, phenomena spread out into spheres that are infinite in both space and time. In Tyson’s work the idea of dimensions play out in terms of prolongation of time and space, and the idea of breadth and compression. Tyson is not so much concerned with representation rather he is interested in subject of machines, mechanisms and engines that confront our models for handling reality and the re-evaluation of our subjective positions. Keith Tyson was born in Ulverston, UK, in 1969. He lives and works in London.
Colors:
Other related works, blended automatically
© » KADIST
Ryan Gander
2012Epiphany…learnt through hardship is composed of a bronze sculpture depicting the model of the little dancer of Degas, in the pose of a female nude photographed by Edward Weston (Nude, 1936) accompanied by a blue cube...
© » KADIST
Cerith Wyn Evans
2008Untitled (Perfect Lovers + 1) by Cerith Wyn Evans takes as its starting point Felix Gonzales-Torres’s seminal work Untitled (Perfect Lovers) , in which two clocks were synchronized and left to run without interference, the implication being that one would stop before the other...
© » TATE EXHIBITIONS
Martin Creed
Martin Creed | The Dick Institute Experience the work of one of this country’s most ingenious, audacious and surprising artists at the Dick Institute ARTIST ROOMS Martin Creed presents highlights from the British artist’s thirty-year career...
© » KADIST
Rosalind Nashashibi
2019Rosalind Nashashibi’s paintings incorporate motifs drawn from her day-to-day environment, often reworked with multiple variations...
© » KADIST
Ian Wallace
2000Untitled (Breathless) presents a folded newspaper article on Jean-Luc Godard’s À Bout de Souffle (Breathless)...
© » KADIST
Martin Boyce
2003In the installation Our Love is like the Flowers, the Rain, the Sea and the Hours, Martin Boyce uses common elements from public gardens – trees, benches, trashbins– in a game which describes at once a social space and an abstract dream space...
© » KADIST
Ian Breakwell
2008“BC/AD” (Before Cancer, After Diagnoses) is a video of photographs of the artist’s face dating from early childhood to the month before he died, accompanied by the last diary entries he wrote from April 2004 to July 2005 (entitled “50 Reasons for Getting Out of Bed”), from the period from when he lost his voice, thinking he had laryngitis, through the moment he was diagnosed with lung cancer and the subsequent treatment that was ultimately, ineffective...
© » KADIST
Chris Wiley
2012Architectural details become abstracted renderings in Chris Wiley’s inkjet prints 11 and 20 (both 2012)...
© » KADIST
Charles Avery
2012Since 2005, Charles Avery has devoted his practice to the perpetual description of a fictional island...
© » KADIST
Jonathan Monk
2003Untitled (rolled up) , is an abstract portrait of Owen Monk, the artist’s father and features an aluminum ring of 56.6 cm in diameter measuring 1.77 cm in circumference, the size of his father...
© » KADIST
Tacita Dean
2001The photographic quality of the film Baobab is not only the result of a highly sophisticated use of black and white and light, but also of the way in which each tree is characterized as an individual, creating in the end a series of portraits...
© » KADIST
Anthony McCall
1974This score is a graphic record of the detailed choreography of one of Anthony McCall’s Landscape for Fire performances...
© » KADIST
Andrew Grassie
2009In 2008, Grassie was invited by the Whitechapel Gallery to document the transformation of some of its spaces...
© » KADIST
Chris Wiley
2012Architectural details become abstracted renderings in Chris Wiley’s inkjet prints 11 and 20 (both 2012)...
© » KADIST
Jeremy Deller
2012Beyond the White Walls , with a commentary written and spoken by Jeremy Deller, is often wryly amusing...