Tim Mosely contributes to the fields of print culture, artists books and haptic aesthetics. His work has been exhibited in significant survey exhibitions and is held in prominent national and international artists books collections. In his current studio practice he employs the ‘wilderness’, the autographic touch and the indexical nature of prints to investigate the role of the senses in the reception and evaluation of works of art. He also contributes to the emerging critical discourse on artists books.

(Tim) Mosley’s art practice considers the role of touch in our experience of the printed work of art (and) his production of artists books insists on the touch of the hands, or the engagement of the ‘haptic’… (he) is one of the pioneers of the expanded form (of artists books) and with his collective skills of papermaking and graphic mediums, he explores touch and materiality. In some instances, he embeds images in the substrate of the paper or creates an embossed tactility that demands to be touched. Most intriguingly, for understanding the operational relationship between the optical and tactile, in his recent works such as studio ep i (& grasping the nettle), the tactile evidence does not confirm the optical reading of texture since the surface is entirely flat. … Ross Woodrow

 
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ep’s, 2018, artists book, pulp printing on hand made paper and silk screen

"As for emulators of (William) Blake in technical innovation, consider the analogue example of Australian Tim Mosely’s works created with his pulp printing process, where the “ink” is actually coloured pulp" Robert Bolick,

Mosely's pulp-printed book Icons of a Bushranger (2006) depicts sections of the homemade armour worn by the Kelly Gang …. The pulp printing process perfected by Mosely embeds layers of coloured pulp within the sheet of paper so that text and image are integrated within the substrate, producing a ghostly outline of white within intensely black, handmade paper. The pages present the armour in sections, like patterns for cutting fabric. (Mosely observes poignantly that it is the Kelly Gang's armour that has become iconic, not their weapons.) Sarah Bodman.

 
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icons of a bush ranger, 2006, artists book, pulp printing on hand made paper