My work Red Sun is directly inspired and informed by several bodies of Robert Rauschenberg’s prints and collages from the late 1960s to the 2000s. I began to study Rauchenberg’s work from a photographic perspective after moving to California in 2014 and conducting research for my own photographic collage work exploring the epic scale of the ongoing construction and destruction of the American West. A specific point of reference is Rauschenberg’s series of lithographs Stoned Moon (1969–70). Rauschenberg traveled to Cape Canaveral to witness and photograph the Apollo 11 launch to the moon. The final lithographs present an expanded physical, sensory, and metaphysical experience of viewing the launch, which would mark the first time a human being stepped off planet Earth and onto another celestial body.
The primary photographic documentary subject of Rauschenberg’s trip to Florida—the rocket—was just one visual element in his collages, which also include photographs he shot of the immense launch structures looming over the swampy landscape, close-up nature photos of birds nesting in the nearby marshes, and found commercial photos of orange groves as state symbols and product advertisements. Rauschenberg collapses the hierarchy of all this content, both found and made, connecting the global event to the immediate physicality of our bodies and the quick synaptic shifts of our attention. The results elicit a deeply human and empathic awareness to an event too large to conceive as a single representational moment.
A series of location and studio-based photographic works and films, Red Sun explores the catastrophic and transformational properties of fire. The work-in-progress is a response to the 2017 wildfires in California, the most destructive in the history of the state. A dominant feature of contemporary digital culture is seeing, watching, and reading about significant global events—such as fires, floods, and hurricanes—in real time, from anywhere in the world. Since Susan Sontag’s On Photography was published in 1977, there has been an ongoing debate surrounding the conditions in which photographic images bring us closer to the pain or joy of others and the conditions in which they push us away. Red Sun is a struggle with the language of photography in the orbit of a disaster.
There is a small, defunct limestone quarry in northern Vermont that is one of the oldest holes in the earth. Stone from the region is prized for its deep black and grey striations - it was used to make Radio City Music Hall and the National Gallery of Art. While extracting the stone, workers found fossilized remains of spiral shelled animals that are some of the earliest life forms ever discovered.
Tim Hyde & MCRM, 2019 “A Useful Fiction" (Photograph, 15x23”, edition of 5)
Useful Fictions & The Speed of Light Expedition
Saturday, Sept. 14, 2019 and Sunday, Sept. 15, 2019, Paris, France
The Speed of Light (SOL) Expedition brings together artists, designers, scientists, and the public to produce work individually and collectively as we travel the same eight kilometers of distance between Mont Valérien in Suresnes and Montmartre defined by physicist Hippolyte Fizeau in his significant 1879 Speed of Light experiment in Paris. Designed with incredible precision, Fizeau’s experiment is a part of the collective genius, a wave of breakthroughs in history that gave birth to Einstein’s theory of relativity that introduced paradigm shifts in the science and art of the modern world.
As an interdisciplinary research project taking place in the “city of light," the SOL Expedition harnesses the momentum of this historical wave of collective genius. The project invites collaborators to conduct research, produce artwork, and design games for public participation, stimulating inquiry and exchange as cultural production that inspires agency. Forum sites and ateliers will be set up at cultural and arts institutions along the journey to invite collaboration. The creative outputs will be documented as a publication for wide dissemination.
UC Davis Art Studio presents an exhibition juxtaposing two new largescale projects designed to galvanize conversation and collaboration between artists, designers, scientists, writers, curators, academics, entrepreneurs, and the art public during and after Art Silicon Valley/San Francisco. The Invitation is a series of photographs produced in 2014 as interdisciplinary collaborations within the UC Davis art community and outside professionals making significant contributions to their field. Each work is produced from discussions, studio visits, and correspondence between two researchers. Separate and distinct fields of inquiry are crystallized into a single picture. The exchange reveals a cross section of investigations underway at UC Davis, interpreted visually. The picture is the conversation. Hexagon/Pentagon is a sculpture produced by The Skull Sessions, an ongoing collaborative project by Andrea Galvani and Tim Hyde. The modular system is alive and in flux, and can be continuously reconfigured to facilitate conversations in the space of the exhibition. For Art Silicon Valley/San Francisco, the sculpture is a locus for planned and spontaneous actions initiated by the UC Davis Art Studio faculty over the three days of the event.