In this passage it is evident that Tillers is aware that his use of photomechanically mediated appropriation leads to a radical dislocation of authorship staged in the domain of photomechanical reproduction. With this ingenious Japanese process, [Neco] it was possible for Tillers to produce his own version of Summer which, when reproduced, was indistinguishable from the reproduction of Heysen’s original. The Letter T So the canvas board system took shape. These were thin, wooden panels with bevelled edges. Another powerful resonance of One Painting, Cleaving within Tillers’ canvasboard project is evident, significantly, in one of the examples of the doubled beacon motif cited above, The Forming of Place , Tillers has re-contextualised the work and given it added value for the present time.
Although this work could be reconstructed so long as the Neco process is still available Tillers decided against this. The ‘death of the author-god’ evident in Tillers’ work becomes understandable as a deconstruction of the rational ‘cogito’, the self-absorbed and self-destructive hubris of capitalist techno-science. The texture of the sky also contrasts with the texture of the landscape. Tillers’ quotation resonates with the central thesis explored in this essay which concerns his deconstruction of authorship by the photomechanical reproduction of a photomechanical reproduction of a photomechanical reproduction. This work is reproduced further below with a detail showing Tillers’ use of two beacon-‘I’ motifs to the right of the large ‘T’.
Although Untitled consists of painting on canvas its doubled nature alerts the viewer to the fact that the work is not an original.
A significant passage in ‘Dialogue on False Mount Hayward’ stated:.
The middle ground captures the circular peak formation, covered in crisp white snow. The shapes are irregular, yet the canvas-board system distorts the overall image to give a muted geometric feel.
The Bridge of Reversible Destiny It is very hard to get much detail.
The reasons for using this medium was a bit ordinary hillers they were portable and economical! Tillers articulates this paradox when he observes that after he had appropriated another artist’s work in his canvasboard works and then happened to see the original reproduced in a esszy or book: A similar doubling is evident implicitly and explicitly in other works such as The Fountainhead, and The Forming of Placewhich are also reproduced below.
Mountains are symbolic of higher thinking, spiritualty, being closer to heaven; Guerard version is as a result of scientific observation; Tillers takes this to a more symbolic level using textual and gestural techniques.
Imants Tillers | Art + Australia – Issue One ()
It was here that the iconic work for Mount Analogue was produced when Tillers was about 35 years old. In Untitled, Tillers turned from mirror-inversion to photomechanical reproduction as his key metaphor for an antipodean counter-rational world.
Like the beacon itself, this canvasboard stack is ‘I-like’ in shape. It is obvious that Tillers’ appropriation of the McCahonian ‘I’ and ‘IT’ motifs relates to the deconstruction of authorship informing postmodern appropriation. It has been noted that this statement reflects his observation on Untitledmade thirteen years earlier, when he suggests that via the Neco process it was possible to: Each board is like a grain of sand on a beach, or stone on a mountainside — all go to make up the whole.
Overall, Tillers depicts an accurate portrayal of Mount Analogue which symbolises, for him, a personal spiritual journey of accomplishment and admiration for the beauty of nature.
Apropos Tillers’ expedition Scullion comments: Untitled, is remarkable because it is a prime example of ‘postmodern appropriation’ created several years before postmodern appropriation became the basis for an international style. Tillers’ doubling of the beacon motif becomes explicit in The Forming of Place in a manner akin to that evident in The Bridge of Reversible Destiny.
He made a series of pictures, as it were, isomorphic resemblances between two categories, like these two hands-whatever one did was matched by the other, until his got this double reflection, as it were, in his results.
Tillers became especially interested in McCahon’s evocations of divinity appropriating words such as ‘I’ and even more fortuitously for Imants Tillers ‘IT’. Tillers has a distinctive artistic style that is easily recognisable.
The symmetry of one’s left and right hands is not a one-to-one copy but involves a transformation, in this case, mirror reflection. The relationship between Tillers’ theory and practice associated with Untitled and his canvasboard series is intimated when in Tillers observed that after he had appropriated another artist’s work in his canvasboard works and then happened to see the original reproduced in a magazine or book: The relationship between Tillers’ theory and practice associated with Untitled and his canvasboard series is intimated when in Tillers observed that after he had appropriated another artist’s work in his canvasboard works and then happened to see the original reproduced in a magazine or book:.
Tillers’ post-classical scientific aesthetic possesses an ideological dimension which is comparable to that of deep ecology.
It was only after he and his family had spent some time in Latvia that he realised that he was really Australian.
Imants Tillers: This attempting to be That (1980)
The canvas boards were soon established as a highly efficient means of producing paintings on a monumental scale within a cramped studio space, and the process of assembling and de-assembling, stacking and unstacking, installing and de-installing became integral to the development of the canvas board system.
Evidence for this contention is available in an article by Tillers published in the same year as Three Esaay and entitled ‘Tom Roberts – Some Reflections’ Tillers b.
Tillers’ reply needs to be taken in the context of his ongoing appropriation of Heysen in Conversations with the Bride, and Untitled The Forming of Place If The Bridge of Reversible Destiny, is examined it is evident that this work is tillrrs installation consisting of a large mounted canvasboard painting and several stacks of unmounted canvasboard paintings.
The latter is evident in Tillers’ description of photography as:. The conclusion to this examination of Tillers’ deconstructive play with authorship in his canvasboard series,is that there is a great deal of evidence to show that Tillers assimilated the strategy of postmodern appropriation into his pre-postmodern theory and practice rather than vice versa.
Tillers has only hung the work for the purposes of photographic documentation.