Skip to content



17 May – 7 June 2014

Opening Event | Saturday 17 May 6pm
Artist Talk | Saturday 7 June 4pm

Drawing attention to the performative, speculative and uncertain nature of creative practice, the exhibition Concertistic Life presents a grouping of new and recent works by Tim Woodward. Moving across mediums, forms and ideas, Woodward’s practice typically engages with processes of editing, free association and re-imagining. Previously his artworks have materialised as sculpture, video, writing, installation, drawings and public events. For Boxcopy, Woodward explores the influence of an authorial voice in relation to objects, as well as the agency of voice operating in the absence of a body. Citing specific examples of self-interview, personal monologue and self-addressed letter writing, the exhibition Concertistic Life considers the construction of meaning within a feedback loop of intrapersonal dialogue.


Tim Woodward graduated with Honours from QUT in 2006. He has exhibited widely in Australia and internationally, most recently with solo exhibitions at TCB art inc (Melbourne), and F.A.K 13 | Geomuseum, Munster and earlier this year he undertook a residency at the Cite Internationale des Arts, Paris with a Scholarship from the Art Gallery of NSW. He has been awarded the Australian Artists Grant NAVA (2014), Australia Council Visual Art Travel Fund (2014), The Art& Australia/ Credit Suisse Contemporary Art Award (2012), The Ian Potter Cultural Trust Grant (2012) and the Melville Haysom Memorial Art Scholarship (2011). Tim was a founding member of Boxcopy and a co-director until 2011. He is currently a board member of REARVIEW (Melbourne) and is represented by Darren Knight Gallery, Sydney.

Exhibition Catalogue | Essay by Lisa Radford

Image: Tim Woodward True timbre [Artist’s statements read by my father], 2014. Single channel HD video, 3:53min.


In this scene, Alfred sits at the table with a cassette transcriber. He has just replayed a recorded interview with his estranged mother and father. The intention of the interview (suggested by his wife Patsy) was to ascertain what kind of childhood he had, and at what stage in life he developed a sense of alienation from the world. Responding to this quest for understanding, his intellectual parents give a distant and impersonal response, expertly quoting psychoanalytic and philosophical texts.

In this scene, Alfred sits at the table with a cassette transcriber. He has just replayed a recorded interview with his estranged mother and father. Recalling his years at college, Alfred then tells of a time when he was writing self-addressed letters. He wrote these “Dear Sir.” letters, with the knowledge that someone else was opening and reading his mail. The act of writing to oneself with the awareness of an unknown reader, establishes a particular relationship between author and audience. The act of creation becomes a conversation first and foremost with oneself, but with the knowledge and hope that others are listening and could possibly respond.

For the 2004 DVD release of Little Murders (1971), there is an accompanying commentary by the actor Elliott Gould. Gould explains a scene, in which his character Alfred sits at the table with a cassette transcriber. His character has just replayed the recorded results of an interview with his estranged mother and father. For this lengthy shot, director Alan Arkin and cinematographer Gordon Willis decided to fix the camera on Gould, and simply have him talk. Re-watching this scene, Gould says awkwardly “In that chair…I don’t know if a body is going to go into that chair”. Clearly bothered by the decision to make Alfred’s audience of one (Patsy) invisible, Gould remarks, “I still would have wanted for us to know that I wasn’t talking to myself”.


Woodward Boxcopy 2014
Boxcopy TW 2014_3
Boxcopy TW 2014_2