Tim Head studied at the University of Newcastle upon Tyne [1965-69] and St Martins School of
Art [1969-70].

Solo shows include:MOMA, Oxford [1972], Whitechapel Art Gallery, London [1974 and 1992],
Arnolfini Gallery, Bristol [1975], Henie-Onstad Kunstcenter, Hovikodden [1978], Kettle’s Yard
Gallery, Cambridge [1978], Serpentine Gallery, London [1979], Institute of Modern Art, Brisbane
[1979], Third Eye Centre, Glasgow [1980], Provinciaal Museum, Hasselt [1983],  ICA, London
[1985], City Art Gallery, Manchester [1993], Kunstverein Freiburg, Kunstverein Heilbronn,
Stadtgalerie Saarbrucken, Kunstverein Braunschweig [1995], Osterwalder’s Art Office, Hamburg
[1995, 1997, 2002], “Einstein Spaces”, EnBW Headquarters, Berlin [2005].
Group shows include Documenta 6, Kassel [1977], “British Art Now”, Solomon R. Guggenheim
Museum, New York and Royal Academy, London [1980], British Pavilion, Venice Biennale [1980],
15th John Moores Liverpool Exhibition – awarded 1st Prize [1987], “Days Like These”, Tate
Triennial, London [2003] and 7e Biennale d’Art Contemporain de Lyon [2003].

Public commissions include: National Museum of Photography, Film and Television, Bradford
[1985], Science Museum, London [1995], Artezium Arts and Media Centre, Luton [1998],
Eurythmics Peace Tour [1999], “Light Up Queen Street” Corporation of London [2005].
Department of Biochemistry, University of Oxford [2008].
Artist’s Residency, Structural Bioinformatics and Computational Biochemistry Unit, Department of
Biochemistry, University of Oxford [2006-07].  


The elusive and contrary nature of the digital medium and its unsettled relationship with both
ourselves and with the physical world forms the basis for the recent work.
Computer programs are written to generate unique events in ‘real time’ on screens, projections
and inkjet prints that focus on the intrinsic properties of these digital media.

The programs operate at the primary scale of the medium’s smallest visual element (the pixel or
inkjet dot) by treating each element as a separate individual entity.
The medium is no longer transparent but opaque.

Digital inkjet prints on fabric.

The flurry of microscopic ink drops propelled on to a surface by a digital inkjet printer is vastly
magnified and forms the granular weave of these enlarged prints of prints – an unsettled
suspension wavering between the virtual and the physical.

The project has been assisted by Eli Zafran and Lisa Peachey.
Scanning by Andrew Godfrey.

Real time computer program and LCD screen.

A real time computer program selects a colour at random from the millions of possible colours in
the computer’s palette and fills all the pixels on the screen with this colour.
The program immediately selects another colour at random to take its place on the screen and
continues to repeat this selection process as fast as possible.
Different variations of horizontal banding appear across the screen that are directly due to the
particular specifications of the computer being used and the refresh rate of the screen.
The physical characteristics of the medium are brought to the surface.

Programming by Simon Schofield.

© Tim Head 2008