under construction

"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,

icons critical reception.jpg

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

Tim Mosely’s art practice 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 research 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.

survey exhibitions

  Stanford University’s Green Library, Stanford, 2018/19, New on the Shelf: Rare Books & Artists' Books,
the Centre for Book Arts, NY 2014, Behind the Personal Art Library: Collectors Creating the Canon,
Minnesota Center for Book Arts 2015, The Contained Narrative: Defining the Contemporary Artist’s Book
Columbia College, Chicago, 2013, 5th International Paper & Book Arts Triennial,
Artspace Mackay, Qld, 2006, 2008, 2013, 2016, 2018, The Libris Awards
Sir Louis Matheson Library, Monash University, Vic, 2013, The Silent Scream
Redland Art Gallery, Cleveland, Queensland 2012, LIFE’S JOURNEY: Artists Books from Queensland Collections,
Talbot Family Treasures Wall, State Library of Queensland, 2010, New Treasures,
State Library of Queensland Gallery, Brisbane, 2008, Freestyle Books 

 selected collections

Mackay, Australia, Artspace Mackay, Artists Books Collection
Sydney, Australia, Bibliotheca Liborum Apud Artificem
Vilnius, Lithuania, Bukarts Artists Book Collection
Northfield, Minnesota, USA, Carleton College Library, Artists Books Collection
UWE, Bristol, UK, Centre for Fine Print Research Artists Book Collection
Gympie, Australia, Gympie Regional Gallery Art Collection
Harvard University, Boston, USA, Harry Elkins Widener Memorial Library
Canberra, Australia, National Library of Australia
Lismore, Australia, Southern Cross University, Artists Books Collection
Stanford, USA, Stanford University Libraries Special Collections
Brisbane, Australia, State Library of Queensland, Australian Library of Art
Melbourne, Australia, State Library of Victoria, Rare Books
London, UK, The Neil Crawford Artist's Book Collection
Murwillumbah, Australia, Tweed River Art Gallery
Bower Ashton Library, Bristol, UK, University of West England Artist's Book Collection

awards / residencies / collaborations

New England Regional Art Gallery, 2018, Packsaddle Artist in Residence,.
Centre for Fine Print Research, UWE, Bristol UK, 2018, Artists’ Books in Australia and Brazil..
2017, Correlations between independent publishing and artists book practice
collaboration with JAB editor Brad Freeman, 2016/2018, JAB, volume 39 (the Australian JAB) & 42
by invitation, Stanford/Codex Collegium, Stanford Uni, 2015, “The Haptic Touch of Books by Artists
Queensland College of Art 2014, Ian Turnbull Memorial Award
2011, Griffith University Postgraduate Research Scholarship
2007, Southern Cross University Acquisitive Artists Book Award
3rd prize - 2006, highly commended - 2004, Seoul International Book Arts Competition,
national prize- 1992, regional prize -1991, CPM National Print Award,

selected solo exhibitons

Bosz Gallery, Brisbane, 2015, The Touching Eye,
Fox Family Galleries at the State Library of Queensland, 2014, re/membering touch,
Webb Gallery, Queensland College of Arts, 2014, the Confluentés Sea,
POP Gallery, Griffith University, 2012, Make Like an Eskimo
Lismore Regional Art Gallery, Lismore, 2004, Murphy's Place,
Switchback Gallery, Monash University College, Vic, 1990, This Personal Library,

selected bibliography

Bodman, S. ‘Dear Reader… some contemporary books by artists’,
Book2.0, 7: 1, pp. 100–101, doi: 10.1386/btwo.7.1.95_1, 2017
Bodman, S. L. Views across the pages. In: Béchard-Léauté, A. and Oncins, V., eds. Le livre d’artiste depuis 1980 en France et au Royaume-Uni. France: Université de Saint-Étienne, pp. 45-56. ISBN 9782862726588, 2015
Petlein, G., “From the Deep: Block Books by Tim Mosely”,
re/membering touch, QCA, Griffith University, 2014
Berry, J., “Beneath the Surface”,
Beneath the Surface, QCA, Griffith University, 2014
Bodman, S., “Paradise lost: The compassionate and haptic nature of Tim Mosely’s, Kanage pholu wanda’,
Printmaking Today, 23 (4). pp. 16-17., 2014
Bodman, S., “Black Books: The Use of Color in Artists’ Books”,
Art in Print, Sep-Oct, pp 4-7, 2013
Bodman, S., “Case study interview with Tim Mosely, Artist at Southern Cross University”,
in A Manifesto for the Book,
Impact Press, CFPR UWE Bristol, UK pp 134-137. 2010
Bodman, S., “Codex Event 6”,
Printmaking Today , Vol 18 #1 2009,
Leoneard, L., “Freestylin': artists' books afloat in Brisbane”,
Art Monthly Australia , March, #217, 2009
Jury, D., (ed), book art object
the Codex Foundation, Berkeley,2008
Hill, E., “Show Business”,
Printmaking Today , Vol 16 #2 2007
Bodman, S., “Artists Books in Australia”,
Umbrella Online , Vol 29 #1March 2006,
Paterson, M., “of a mischievous nature”,
Imprint, Vol 41 #3 2006
Grishin S., Australian Printmaking in the 1990's,
Craftsman House Press
Carey Wells, P., “The Paper Chase”,
Textiles Fibre forum,† Vol 16 No 1 1997

selected published essays

The Haptic: and the emerging critical discourse on artists books”, JAB, Vol 39, 2016
the material folio”, in Artist’s Book Yearbook 2016-2017, Impact Press, UWE Bristol 2015
The autographic touch - a silver minnow of printmaking”, proceedings IMPACT 10
"A definitive haptic practice and a methodological model for artists book practice", proceedings IMPACT 8
"The Book of Laughing and Crying" The Blue Notebook, 2012
"Integrating artists’ books and paper making", The Blue Notebook, 2006