From this page you can review the latest reviews on Tim Davies in Venice.
The Golden Triangle: U.K at the Biennale (Art in America, 03.06.11)
Owen Sheers looks at the political power of curating by country (The Guardian, 07.06.11)
‘Tim Davies’ work is well devised, well displayed and well thought-through, overall a refreshingly different and stimulating collection of work. Davies’ clever and subtle nature is his real strength, and through this work he succeeds in doing what all great artists must, to make people think.’
- Martin Brennan in the Kilkenny People 3.6.09, reviewing the Kilkenny Shift solo exhibition at the Butler Gallery, Kilkenny.
‘Across different media, Davies’s work has an underlying unity. There is satisfying coherence to his ideas. This does not mean that his work is static or repetitive: the DVD film, Kilkenny Shift, is a response to the castle’s environment, but also marks a clarification of related themes in his earlier output.'
- Gerry McCarthy in the Sunday Times Culture Magazine, 10.5.09, reviewing the Kilkenny Shift solo exhibition at the Butler Gallery, Kilkenny.
‘Tim Davies' two video pieces on DVD monitors demonstrate sensitivity and a dramatic touch. In the three-monitor piece titled "Still," Davies looks to the Northern European Lepidoptera Collection held at the Swansea Museum in the United Kingdom to reclaim the lost lives of butterfly specimens. In the visually stunning "Arrangements (The Cuba Jug) 1 - 9," he documents the process of arranging a pitcher of flowers…’
- Katherine Rushmore in the Syracuse Post Standard 9.3.08, reviewing the @earthlink.org group exhibition at Cazenovia College Gallery, New York.
‘...It carries a strong theme of grief, both public and private. Despite the presence of video works in the show, there is a cool quietness in the atmosphere of the gallery. The walls are lined with a small army of drawings which feature neatly scored-out images of grand memorials. The work is defined by an extremely minimal aesthetic. The cinematography of the videos has parallels to the composition of a Vermeer painting, giving the depictions of the grieving a solemn beauty…’
- Morag Keil in The Skinny (Scotland) Issue 20, May 2007, reviewing the Cadet solo exhibition at the Collins Gallery, Glasgow.
‘…Tim Davies is part of a constituency of artists, working transnationally, who are committed to place but also function in the world, who do not prescribe our understanding nor privilege their own by adopting an avante-garde position. Davies works by unpicking some of the locks of human experience, from a position already beyond Modernism, rather than leading a charge, and asks that we explore the nature and meaning of that experience with him. He also embodies, in his practice, a role for the artist which has both the intimacy and the wider reach necessary to access the individual and collective public mind – a truly ‘public’ art.’
- Declan McGonagle’s Foreword for the Cadet solo show catalogue 2006-07 to accompany the exhibition at Aberytstwyth Arts Centre, The Harris Museum, Preston and the Collins Gallery, Glasgow.
‘…Actually, to call Butterfly a play is something of a misnomer. With music by the acclaimed Amy Wadge and an art installation by the equally lauded Tim Davies, it’s more of a sensory smorgasbord of creativity; it really is an event…’
- Jason Jones in the Big Issue Cymru March 13-19 2006, reviewing Butterfly, a collaboration for the stage with Theatre Y Byd.
‘…Ceremony does not shirk from death - particularly engrossing is Rosmarinus Officinalis, a video by Tim Davies, which documents the construction of a funeral wreath that is beautifully lit to resemble a Dutch still life…’
- Pamela Buxton in Design Week 11 August 2005, reviewing work at the Ceremony group exhibition at The Pump House Gallery, Battersea, London.
‘…As the sun began to dip below the palm fronds, we came upon the park’s signature work, the British artist Tim Davies’s "Returned Parquet", a 4-foot-wide, 40-foot-long strip of mahogany flooring set in the rich forest soil…All of Belize’s complex colonial history is contained in this old wood floor…’
- Bruce Barcott in The New York Times 9 May 2004, reviewing Llawr Fforestfach: Returned Parquet at Poustinia Earth Art Park in Belize.
‘…With an eye for the simply composed yet powerfully telling image, he focuses on hidden historical details and defaces the façade of colonialism and nationalism…’
- Robert Clarke in The Guardian Guide April 10-16 2004, in a preview of the Still Life solo exhibition at The City Gallery, Leicester.
‘…It is perhaps in the hidden depths that he excels. His work varies greatly in materials and methods, but they share a certain surface calm and beauty, but beneath that often-austere surface run currents of a darker, indignant, if not angry, mood…’
- Iwan Bala in The Western Mail 15 September 2003, in an article about the Artes Mundi international visual arts prize exhibition of short-listed artists at the National Museum, Cardiff.
‘…Tim Davies has been making installations of cauterising beauty…As always the means are condensed and the point poised finely between political protest and elegy…Restrained, hard-hitting, poignant, truthful, not afraid of its feelings: these describe Tim Davies’s work to date…Tim Davies stands apart from many conceptual artists of his generation as he owns up to feeling; this allows us into his work on an equal footing. It is a relief to see an artist trying to be so honest.’
- Caroline Juler in Galleries July 2003, in an article about Tim Davies and the group show Explorations at the National Botanic Gardens of Wales.
‘…This timely installation by Tim Davies explores the themes of patriotism, freedom and lost innocence’
- Jessica Lack in The Guardian 7/4/03 ‘Picks of the week’ section, regarding the work Drumming at the solo exhibition Process II at Oriel Davies, Newtown.
‘…Davies’s work has a timely relevance...’
- Hannah Shuckburgh writing in Art Review April 2003, previewing the Process II solo exhibition at Oriel Davies, Newtown.
‘…Welsh artist Tim Davies produced a Beautiful work, also floor-based, which consisted of thousands of opaque wax nails…a restrained, formal elegance …’
- Alannah Hopkin in Circa, Summer 1999, discussing the work Capel Celyn in her review of the Alice Maher/Tim Davies exhibition at Triskel Arts Centre, Cork.
‘…Davies has achieved a striking transformation: something soft and mutable stiffened into precision. It balances on a razor’s edge between figurative meaning and the abstract…’
- Hugh Stoddart in Contemporary Visual Arts Issue 26 (1999) reviewing the work Parallax in the Chora group exhibition.
‘…there is a serious engagement with aestheticism, a quality often sidelined by works with a more thrusting political agenda. That said, there is an intelligence within the work which is lucid, accurate…’
- Laura Denning in CIRCA21 Newspaper No. 2, 1995, reviewing the piece Paran Chapel in the group show Standpoints.