The new sizing meant that the image was at once more present to the viewer, giving the impression that one can enter the landscape, but also more abstract, due to the grid left by the canvas-boards. It is obvious that Tillers’ appropriation of the McCahonian ‘I’ and ‘IT’ motifs relates to the deconstruction of authorship informing postmodern appropriation. One can then choose to see the work as panels, a jigsaw, or a whole slightly distorted image overlaid with a grid, somewhat like a map. 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’ 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. He has a strategy of appropriating images from reproductions of artworks and other sources, and re-working them.
The figure itself is small, dwarfed by the scale and majesty of the environment. Here Tillers discusses the relationship between art and photography and in so doing creates a link between photomechanical reproduction and his mythopoetic notion of a counter-rational parallel world. 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. Moreover, it will be argued that Untitled acts as a paradigm for Tillers’ most sophisticated application of authorial appropriation in his canvasboard series of – the latter being produced when the strategy of postmodern appropriation was in the ascendancy as an international style. This identity confusion may have given him an attraction to the works of von Guerard, giving them a common background. Thus rather than being stereotyped as a typically antipodean ‘follower’ of an international style Tillers can be understood as having developed and elaborated his self-deconstructive strategy of authorial appropriation independently. An interesting notion in the context of authorial appropriation.
Tillers has used warm colours in the landscape, reflected in the clouds.
However, what is particularly interesting is that Tillers’ self-deconstructive appropriation of such motifs can be explained in terms of the sophisticated and precocious theory and practice associated imahts Untitled Tillers’ aesthetic is influenced by an enduring ecopolitical position evident in his insertion of ‘woodsmen’ with axes into Heysen’s idyllic landscape.
What is especially interesting about Untitledand the theory that surrounds it, is that its precocious and particular postmodernity can be shown to have influenced Tillers’ use of appropriation in the canvasboard works he produced during the ascendancy of international postmodern art in the s.
It was here that the iconic work for Mount Analogue was produced when Tillers was about 35 years old. This essya involves a parodic play upon the provincialism issue.
It would have that same effect on me personally. He has a strategy of appropriating images from reproductions of artworks and other sources, and re-working them.
It is in this dialogue between Scullion and Tillers that a frame of reference can be found for Tillers’ paradoxical appropriation essay ‘his’ initials from McCahon.
Each board is like a grain of sand on a beach, or stone on a mountainside — all go to make up the whole. In this passage it is evident that Tillers is aware that his miants of photomechanically mediated appropriation leads to a radical dislocation of authorship staged in the domain of photomechanical reproduction.
He experimented with charcoal, pencils, and oils, producing hundreds of images before he committed to paint.
The sophistication of Tillers’ deconstruction of authorship in Untitled, is evident in his writings associated with this work. Tillers’ post-classical scientific aesthetic possesses an ideological dimension which is comparable to that of deep ecology.
The Letter T sssay As a result, for a long time Tillers felt himself to be Latvian.
Tillers makes the following observations on Untitled 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’ 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.
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. Another conjunction of Tillers’ appropriation of authorial motifs from both McCahon and Arakawa in the same work is evident in The Bridge of Reversible Destiny The surface chosen by Tillers was canvas.
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. However, Tillers’ most impressive treatment of these signifiers is evident in his monumental canvasboard work The Bridge of Reversible Destiny, reproduced below.
The background consists of a serene sunset sky, with a hint of an approaching storm in the top left corner. They boards give strong angles and create a sense that a grid has been laid over the environment.
The ‘death of the author-god’ evident tillere Tillers’ work becomes understandable as a deconstruction of the rational ‘cogito’, the self-absorbed and self-destructive hubris of capitalist techno-science. The Forming of Place As in the quotation from Three Facts cited above Tillers points to a dislocation of authorship occurring in the domain of photomechanical reproduction.
The use of separate canvas boards is what gives this artwork a post-modern appearance. Ken Done and Pro Tillees were popular artists who had a huge commercial impact in this decade. If The Bridge of Reversible Destiny, is examined it is evident that this work is an installation consisting of a large mounted canvasboard painting and several stacks of unmounted canvasboard paintings.
Bricolage is imwnts creation of a work from a diverse range of things that happen to be available. Evidence for this contention is available in an article by Tillers published in the same year as Three Facts and entitled ‘Tom Roberts – Some Reflections’ Tillers b.
The availability of such rssay and, or, identity motifs indicates a turning point for Tillers’ expression of his anti-anthropocentric position in his canvasboard project, Imants Tillers uses elements of post modernism to recreate, appropriate the original painting and manages to make it a mystical experience.
Another link can be added to the chain of connections between Tillers’ pre-canvasboard theory and practice of photomechanically mediated appropriation.