Dimensions: image: 772 x 768 mm
Copyright: © The estate of Tim Mara | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Curator: Tim Mara's unsettling print, "Power Cuts Imminent," presents a collage of fractured realities. What is your initial take? Editor: The juxtaposition of textures—the glossy tiles, the worn leather—creates a striking unease. The composition feels disjointed, almost dreamlike. Curator: Mara, who died in 1997, was deeply interested in how technology shapes identity and social interactions. This work encapsulates his critique of media saturation. Editor: I'm drawn to the formal elements. The grid motif, repeated in the tiles and background pattern, suggests a controlling structure, disrupted by the organic forms. Curator: The figures, isolated and seemingly disconnected, speak to themes of alienation and the diminishing of human connection in the face of technological advancement. There is a palpable sense of powerlessness, and impending darkness. Editor: The color palette—muted tones punctuated by flashes of brightness—heightens the sense of unease. The whole image is a series of formal relationships that create tension. Curator: This image serves as a reminder of the pervasive influence of technology and its impact on our lives. Editor: A compelling visual experience. The artwork invites further examination of its underlying formal relationships.
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Tim Mara was born in Dublin and studied art at Epsom, Wolverhampton and the Royal College of Art. He was Professor of Printmaking at the Royal College from 1991 until his death. He had his first solo show of prints in 1974 and the screenprints he made in the 1970s reveal his interest in cluttered domestic interiors and a sense of narrative. Technically his prints are very dense and complex, often with as many as fifty or sixty separately printed colours. He did not wish to be thought of as a Pop artist and said that his heroes were the painters Piero della Francesca, Velasquez and Vermeer. 'I like the constancy of life, like Shakespeare in modern dress.' Gallery label, August 2004
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