Tim Sandys (b. 1974 in Glasgow, Scotland) associates his work with societal and civic structures. Using actions and interventions, he carefully identifies points of strain, failure or tension within city experience and exploits them. The application of his working methods reflect ethnographic or qualitative research as much as artistic practice and presents without proselytising or conclusion. His output is dominantly sculptural often augmented with film, drawing and sound. He is a graduate of Dundee’s Duncan of Jordanstone College of Art and Design and the MFA programme at the Glasgow School of Art.
Solo shows include: You Against You, William Benington Gallery, London, England (2016); Damocles, Lust & The Apple, Edinburgh, Scotland (2015); Hardtack, Summerhall, Edinburgh International Festival, Edinburgh, Scotland (2013).
Group exhibitions include: Territorial Gain, Hidden Door Festival, Edinburgh, Scotland (2017); Manchester Contemporary 2016, Ryder Projects, London, England (2016); RSA Barns Graham Travel Award show, Royal Scottish Academy, Edinburgh, Scotland (2016); Philadelphia Sculpture Gym, Philadelphia, USA (2013); RSA New Contemporaries, Royal Scottish Academy, Edinburgh, Scotland (2013).
For more information visit timsandys.com.
Elizabeth Hudson, Tim Sandys and Bobby Sayers
Tilting at Windmills
Bobby Sayers, Elizabeth Hudson and Tim Sandys are Glasgow-based artists working in the field of sculpture who share an interest in the public realm. Tilting at Windmills — a title taken from a novel by Miguel de Cervantes about a man who believes he is a knight — is an oblique reflection on the stories a city tells, from the official to the subversive. The artists’ works slip between voices of authority, community and anarchy, extending the present situation back to the medieval tussles where it all began.
This project, a playful combination of sculpture, installation and live performance, is aimed at children as well as all adults. It shares the hidden knowledge held by the powers that be, but also by the people who live and work in the city, through a play that deals with Community Purchase Orders and sculptural pieces that explore the transmission of city branding. Viewers can even take part in the closing event, a quasi-officious anarchic trolley joust — or tilt.
Tilting at Windmills is supported by Glasgow City Council Stalled Spaces and is part of the ongoing programme of temporary exhibitions and events that WAVEparticle facilitates as part of the award-winning Laurieston Art Strategy: Open Spaces.
Fri 20 April – Mon 7 May
Open 24 hours
Ayelet Ben Dor, Jedrzej Cichosz, Uist Corrigan, Roi Carmeli, Judith Leupi, Jonny Lyons, Tom Krasny, Tim Sandys and Alex Stursberg
Holy Wave touches on the connection between art and ritual; a connection less obvious today, as art becomes increasingly self-reflective, and religious rituals abide by rules stemming from years of unchanged worship. It remains essential, however, in understanding art’s role in contemporary society and spiritual life.
The artists view the art object as charged with power; a combination of intention and action; of emotions and thoughts that cannot be separated from material and labour.
Supported by WAVEparticle as part of the award-winning Laurieston Art Strategy: Open Spaces.
Fri 20 April – Mon 7 May
Mon – Sun, 12 noon – 7pm