About Timothy Sullivan

Working Philosophies:

If creativity makes you feel good, do it. If Nature gives you a talent, expand on it. Travel, look and image when Nature exposes her best ethereal atmospheres. There will be times when people must become part of the big picture. An image void of humans is, in reality, an offering. The best images communicate, perhaps telepathically, an invitation to the viewer. Post-imaging eliminations and additions are always within the rights of a free and independent artist. We, as artists, are working for ourselves . . . preferably without stringent image capture techniques.

Non-objective images are simply conveyed by the artist . . . not conceived. This has been known amongst artists for centuries. Perhaps, we merely channel imagery from a higher Catalyst.

The Bio:

Timothy Paul Sullivan was born in Niagara Falls, Ontario, Canada on January 28th, 1951.

Interested in art at an early age, Tim later attended Fanshawe College in London, Ontario, studying under photographic artist, Donald Dunsmore. While building his student portfolio he experimented with black and white infrared film. He learned with the help of head technician, John Kippen, the techniques involved in exposure, development and printmaking of the infrared image. Control of contrast and grain pronouncement, during the development process, became experimental.

During the early years, before his focus took a turn towards overlapping media, Tim won several awards for his black and white photographic prints at juried exhibitions. In 1978, Lorraine Monk, (then, Director of the Still Photography Division of the National Film Board of Canada) commented that she would be looking forward to seeing more of Tim Sullivan's work in the future.

In his later years (one decade) Tim began hand-tinting his black and white prints with colour. Coinciding with the dawn of digital imaging, (yet another decade) the Wacom Pen became instrumental in his colour-tinting techniques.

Tim's latest works are a testament to the level of refinement he has brought to his medium.

Although structured at the base with a black and white infrared negative, his vision has evolved away from stringent photographic technique. Currently, his medium is best described as overlapping or "mixed." The result of his mix is imagery filled with touching ethereality, or thought provoking surreality. These works have, just now, become available.

“Inside looking out,” allows the viewer to participate with the artist’s consciousness . . . sharing his “mind’s eye.”

Recent Work:

Lately, Tim has been involved with digital painting and often sets his film aside to create images with the use of a Wacom Pen and a digital toolbox. He describes the work as non-objective, usually starting with a background and conveying with a series of painted layers, often containing geometric forms.

“Outside looking in,” takes the viewer into the depths of the non-objective consciousness. The image is first created in pixels. It is then transformed to the viewer with the tap of a “print” key.

Acknowledgments:

Tim would like to thank those who have shown enthusiasm towards his work. He would like to express a special thanks to friends who supported him at the University Of Guelph where he worked as an image-maker for thirty years.

 

Ziggy Lambert

 


Photographic Artist / Personal Instruction 

​Timothy P. Sullivan