TASMAN RICHARDSON
"While Plato argued for the triumph of the rational over the sensorial, Richardson appears more interested in rehabilitating the latter."
Madeline Bogoch, Peripheral Review
"...akin to a journey through the heart of the materialist ego where the rigorous staging of space diversifies perspectives on the self and the media as portents of an apocalypse..."
Dominique Sirois-Rouleau, Esse
"...Richardson pushes past the surface, and shows us darkness at its heart."
Murray Whyte, Toronto Star
"His investigation of images tests the limits of our cultural and perceptual boundaries, which he breaks apart and reconfigures with disturbing precision."
David Jager, NOW magazine
"Eschewing simulated realities, and narrative or figurative content, Richardson's pioneering of the Jawa style took video sampling to an extreme."
Christopher McKinnon, Luma Quarterly
"...an intense, ambitious artist at the top of his game."
Richard Rhodes, Canadian Art
Tasman Richardson is a cultural composite, making cultural composites. His practice spans video art, immersive installation, and live a/v performance.
He established himself by pioneering his cut-up method "JAWA" in 1996, and co-founding the FAMEFAME arts collective and Videodrome international a/v tournament. Richardson critically examines "contemporary necromancy", "voluntary surveillance", and video as "a soul without a body".
His large-scale installations include Necropolis (MOCCA 2012, Karsh-Masson 2015) and Kali Yuga (Arsenal Contemporary 2019, 2020). More recent works investigate social silos and class war.
His collected observations spanning two decades are published by Impulse(b) in his book "Objects In Mirror", launched in Toronto, Berlin, and Izmir (2023). His work is held by the National Gallery of Canada.
2025 CV of selected exhibitions
Objects In Mirror published by Impulse(b)