"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 began his practice in 1996 by pioneering his audio/visual cut up method known as Jawa. He went on to revise the technique from a strictly studio based edit to live midi triggered performance and has since taught workshops on scavenging and structuring content with the technique.
He co-founded the FAMEFAME media arts collective in 2002 and launched the international a/v tournament Videodrome with his FAMEFAME cohorts Jubal Brown, Elenore Chesnutt, and Josh Avery. In 2011 he launched the strictly live, abstract, and anonymous performance showcase known as The New Flesh.
His work expanded to include installation in 2012 with the exhibition of his six room, 2000 square foot construction of Necropolis, first housed in Toronto's Museum of Contemporary Canadian Art. He then produced the bookend of his critique of self reflection and mediated gaze with his installation Kali Yuga, first housed in Arsenal Contemporary in Montreal.
He has collaborated, exhibited, and performed internationally for over two decades.
His themes to date have been a critical response to recordings which he dubbed "contemporary necromancy", social media as a "voluntary surveillance state", video as "a soul without a body", and imperfect mediated reflections.