Tim Johnson: Tibetan Wall Hanging
According to the Museum of Contemporary Art, Sydney, Tim Johnson’s first solo exhibition was held at Gallery A in Sydney in 1970, the same year he co-founded the radical artist-run gallery Inhibodress (1970–72) with Peter Kennedy and Mike Parr. Engaged in a conceptually aligned practice, he worked primarily across performance, installation, photography, film and music until the late 1970s. In the early 1980s, with a renewed focus on painting, Johnson spent time learning from and collaborating with Aboriginal artists from the Pintupi, Warlpiri and Anmatyerr communities at Papunya in the Western Desert – a profoundly influential period in his artistic development. Since that time his work has drawn on a wide range of cultural references, combining iconography from Aboriginal, Buddhist and east Asian sources alongside his own unique personal imagery, in an exploration of artistic and spiritual connections across cultures.
Johnson has exhibited widely in Australia and internationally. Selected solo exhibitions include The Luminous Ground, Ikon Gallery, Birmingham (2013); Tim Johnson: Painting Ideas, Queensland Art Gallery | Gallery of Modern Art, Brisbane (2010) and Art Gallery of New South Wales, Sydney (2009); Tim Johnson, Glasgow Museum, Glasgow (1994); Across Cultures, Ian Potter Museum of Art, University of Melbourne, Melbourne (1993); Languish, Institute of Modern Art, Brisbane (1986), Diary, Voyeur, Fittings, Disclosures, etc., Pinacotheca, Melbourne (1972); Installation as Conceptual Scheme, Inhibodress, Sydney (1971) and Off the Wall, Gallery A, Sydney (1970).
The Work of Art
Tibetan Wall Hanging was created in 1990 using synthetic polymer paint onto canvas. The brightly coloured work uses the traditional motif of a Chinese dragon seen here in dark red Much of Tim's works are clearly influenced by Chinese and South East Asian designs. Other works of art created by Johnson show the Buddha figure, pheonix birds and Indian Gods. Tim's style also reflects those of Southern and South East Asia in the fact that the works rarely portray any sense of depth or perspective.