Building from a solid foundation in traditional artistic disciplines, my artworks also comprise of interactive installations, projections, net.art and games. Central to my conceptual Art is an interrogation of Art itself, along with social and political commentaries concerning the Western educational system and the postmodern media and consumer society. Generally artists are expected to pursue one line of enquiry in one style using only one medium, but my Art is rebellious in that it explores a multitude of themes in many different styles using a plethora of disparate media. In this respect, besides from the fact that I get bored easily, the work is part of a broader aim which encompasses every field I engage in of promoting a kind of polymathy hitherto only seen during the Renaissance. As I have no desire to become a famous artist, exploring my own interests seems to be the most sensible work methodology and I base my success on how much I fulfill my creative desires.

SECTIONS Drawing Projections Conceptual Art Painting Sculpture Interactive Installations Art Games Net.art Installation Photography

I became a competent draftsman from early on (the wildlife picture was completed when I was only 17 years old). Work mainly consists of detailed anatomy and figurative studies as well as more gestural depictions of the human form.






I constructed a series of large and small scale data projections, filling the gallery with light and atmosphere. The pieces really came to life when people walked past the projector which cast large shadows onto the back wall and made the works interactive in an intriguing way.






My conceptual Art makes commentaries about Art itself, as well as about the Western educational system and the postmodern media and consumer society. I feel that Conceptual Art is a viable artistic endeavour as traditional values in Art have changed, and it's positive to encourage the audience to engage in the work intellectually.



My University Course (2002-2006) is a retaliation to a 1st class, or GPA 5.0, degree from a prestigious and academically elitist BRAND NAME institution (a status symbol degree from Oxbridge™, Central St. Martins™, The Royal College of Art™, Yale™, Harvard™ etc.) interrogating contemporary representations of success within the educational establishment, and providing an alternative to what the system regards as a model student. Flipping the 'winners' of the system around I ask questions such as "why do you need to go to an 'elite' establishment to get a decent education, especially when there is so much emphasis on becoming an independent practitioner?", "are the ones that get the best marks really the ones that get the most out of the course? In your relentless quest for EXTRINSIC rewards haven't you sacrificed the work by conforming overly strictly to the curriculum?", "have you chosen your occupation based on social status, trend and/or because you were attracted to it by glamourised depictions in cinema and on TV?" and "are you right to be so exstatic about your apparent 'success' whilst the people you call losers are struggling and, in some cases, commiting suicide?".

Set in the run-of-the-mill town of Bognor Regis, the course makes a provocative statement about the status-seeking conformists at the other end of the spectrum. The piece brings to light the question "what constitutes an ideal university course?" and in this particular instance aims to answer that by providing a course in which less emphasis is placed on the grades (numbers/letters on pieces of paper) and more emphasis is placed on exploring, experimenting, thinking and learning, not just about things related to the course but about other issues, in particular the negative effects the competitive grading system has on those less abled and also those that get the best marks.

Outstandingly, I produce a series of deliberately poor artworks whilst simultaneously displaying a wide VARIETY of interests, skills and knowledge, despite the system's best attempts to make me specialise in one particular discipline (specifically by a 'teacher' who himself received a 1st from The Royal College Of Art™, tut tut). By sacrificing the grades for the work, the course is as much a promotion of polymathy as it is about learning for the sake of learning and makes a case for the abolition of grades altogether.

The piece has another side too. Set within the language of film and within the context of a mundane environment, it functions as a parody of our postmodern media and consumer society, and applies this parody to the world's 'finest' graduates. There is one overarching joke - all you have to do to beat the 'top' graduates (especially if you're me) is sit back, relax and take a sarcastically arrogant snap shot of them as they unnaturally pursue some grossly warped and over-simulated construction of perfection (out of fear of failure), unknowingly journey into further levels of hyperreality and cheesiness, all the while being controlled by the government and fulfilling Gandhi's discovery that "the outcome of education is that the student becomes an ideal citizen, an ideal patriot and an ornament to his family, his community and his nation." Many people like to put their fancy pants institution after their name and expect it to mean something positive. I'll tell you what it means. It's the badge of an extrinsically motivated, conformist specialist, who gives learning a bad name. Timothy Clark BA (Bogoff) is the badge of an intrinsically motivated, non-conformist polymath who regards the entire educational system as a complete joke, and I'm very proud of that. I'm a critic of selective education. I see no reason why I deserve more priviliges (better facilities, better teaching etc.) than anyone else simply because I'm the most variously gifted individual to ever walk the face of the earth, nor do I seem to need them. There's something brilliant about my going to the smallest and least prestigious university in the country. Not only is it more of a challenge but It's MORALLY RIGHT too. NOTE: • The work shares the same qualities as Richard Long's walks, in that the actual artwork was the university course and the photographs and text depict documentation of that previous event. • The reason the course spanned four years is because I included the year after I graduated in which I continued to work. This is a commentary about how most students see no point in continuing to work once the system has reached its 'conclusion' and the extrinsic rewards are no longer there. • The artwork is broken up into 3 scenes. In each scene, I am on the floor which depicts my staying grounded. • All in all, I display all the good qualities of graduates of 'elite' establishments, whilst displaying none of their many flaws.

THE MOST EXPENSIVE ARTWORK IN THE WORLD (2005) I bought a cheap imitation of Michelangelo's David and used it in many different ways. I then changed it in a subtle but brilliant way by simply changing the price tag. The Most Expensive Artwork In The World (2005) is exactly what the title suggests. It is always 1 cent or 1 penny (depending on the currency it has been valued at) more expensive than the second most expensive artwork in the world, which the general public believe to be the most expensive. At $148,100000.01 the piece is currently ahead of Jackson Pollock's No. 5, 1948. In My University Course the statue was used as a symbol of mass-manufactured idealism within the educational system. One of my old friends who went to St. Martins told me that a girl at his institution had put a massive price tag on one of her artworks, which was a really poor representation of David Beckham, and that she was in a position to do so because of the institution. Well, I went to Bognor Regis and I created the most expensive artwork in the world. So there!

I created a Tate Modern booklet showcasing my deliberately poor artworks along with text praising them. This was my parody of Modern Art after I had studied Duchamp. I came to the conclusion that Fountain, and the rest of Modern Art that borrowed its idea (Tracey Emin's My Bed etc.), is a leech of which the gallery is its life support. The urinal is as lowly an object within the gallery as it is out. In making the context of the gallery so integral to the strength of the work and by encompassing the entire notion of the gallery in one artwork, Duchamp tragically evades any demolishon of the snobbery of the Art establishment that he made so clear he was against. You only have to look at the seven copies of Fountain, which are now more prestigious than the original ever was, to realise that there has been an ironic reversal of his critique of the Art object. Instead of dismantling the establishment, he reinforced its importance.

LIST OF 20TH AND 21ST CENTURY EXTRINSICALLY MOTIVATED, SPECIALIST ROBOTS WITH CONFORMIST PERFECTIONISM DISORDER, a Worrying Fear of Failure and a Warped Idea of Success (2009) King Abdullah of Jordan Sir Grantley Adams, Premier of Barbados, 1954-1958; Prime Minister of the West Indies, 1958-1962 J M G (Tom) Adams, Prime Minister of Barbados 1976-85 Diran Adebayo, author Samira Ahmed, journalist and presenter Monica Ali, author Tariq Ali, writer Rowan Atkinson, comedian Kingsley Amis, author Lindsay Anderson, film-maker W H Auden, poet Clement Attlee, UK Prime Minister, 1945-1951 Zeinab Badawi, journalist and broadcaster Ed Balls, Member of Parliament and Secretary of State for Children, Schools and Families Solomon Bandaranaike, Prime Minister of Sri Lanka, 1956-1959 Sir Roger Bannister, neurologist and athlete Dame Josephine Barnes, first female President of the British Medical Association Marian Bell, economist Tony Benn, politician Alan Bennett, playwright Sir Lennox Berkeley, composer Sir Isaiah Berlin, philosopher Sir Tim Berners-Lee, inventor of the World Wide Web Sir John Betjeman, poet Benazir Bhutto, former Prime Minister of Pakistan (1988-90 & 1993-96) Zulfiqar Ali Bhutto, former President (1970-73) and Prime Minister (1972-77) of Pakistan Tony Blair, former UK Prime Minister (1997-2007) Baruch S Blumberg, Nobel Prize-winning scientist Edmund Blunden, poet Henry Bonsu, journalist and broadcaster Dr Ian Bostridge, opera singer Sir Adrian Boult, conductor James Bowman, counter-tenor William Boyd, author Lord (Melvyn) Bragg, broadcaster Justice Stephen Breyer, Associate Justice, Supreme Court of the United States, 1994- Vera Brittain, writer Peter Brook, theatre director Fiona Bruce, broadcaster Dr Kofi Abrefa Busia, Prime Minister of Ghana 1969-72 Robert Byron, travel writer David Cameron, Member of Parliament and Leader of the Conservative Party Baroness Barbara Castle, politician General Wesley Clark, NATO Supreme Allied Commander Europe, 1997-2000 Bill Clinton, President of the United States, 1992-2000 Wendy Cope, poet Richard Curtis, screenwriter Cecil Day Lewis, poet Edward de Bono, philosopher David Dimbleby, journalist and broadcaster Sir John Eccles, scientist, winner of the Nobel Prize for Physiology 1963 John Edmonds, trade unionist T S Eliot, poet Hugh Fearnley-Whittingstall, chef and broadcaster Helen Fielding, author Dr Amelia Fletcher, Chief Economist, Office of Fair Trading Lord Florey, Nobel Prize-winning pathologist Michèle Flournoy, US Under Secretary of Defense Emilia Fox, actress Antonia Fraser, novelist and historian Malcolm Fraser, Prime Minister of Australia, 1975-83 William Fulbright, politician, founder of the Fulbright Scholarships Indira Gandhi, Prime Minister of India, 1966-77 & 1980-84 Dr Frene Ginwala, former Speaker of the South African National Assembly William Golding, Nobel Prize-winning novelist Hugh Grant, actor                    Robert Graves, poet Graham Greene, author Mark Haddon, author J B S Haldane, geneticist Professor Stuart Hall, sociologist Harald V, King of Norway since 1991 Bob Hawke, Prime Minister of Australia, 1983-91 Professor Stephen Hawking, physicist Joseph Heller, author Florian Henckel von Donnersmarck, Oscar-winning film-maker Sir Cyril Hinshelwood, Nobel Prize-winning chemist Dorothy Hodgkin, Nobel Prize-winning chemist Edwin Hubble, astronomer Cardinal Basil Hume, Archbishop of Westminster, 1976-99 Aldous Huxley, author Armando Iannucci, writer and comedian Lord (Roy) Jenkins, former Home Secretary and Chancellor of the University Bobby Jindal, Governor of Louisiana, former US Congressman Luke Johnson, businessman, Chairman of Channel 4 Lakshman Kadirgamar, former Sri Lankan Foreign Minister Natasha Kaplinsky, television presenter Imran Khan, Pakistani politician and former international cricketer Liaquat Ali Khan, first Prime Minister of Pakistan Soweto Kinch, jazz musician, saxophonist Dame Emma Kirkby, soprano John Kufuor, President of Ghana 2001-2009 Haruhiko Kuroda, President of the Asian Development Bank Martha Lane Fox, businesswoman, co-founder of lastminute.com

List Of 20th And 21st Century Extrinsically Motivated, Specialist Robots With Conformist Perfectionism Disorder, a Worrying Fear of Failure and a Warped Idea of Success (2009) is a list of graduates that Oxford University proudly display on their website to show off and attract students. Looking at the list you notice that most of the people on it are experts in one endeavour. This is the age in which we live, and the 'cream' of the educational crop are direct examples of this phenomenon. Students who don't conform within the educational system are quickly labelled as having Oppositional Defiant Disorder. To me it seems, the ones with the real disorder are those that get straight As and 1sts throughout the entire system, those that obey orders and those that feel comfortable being chained to a desk for most of their childhood, all so that they can live up to some social construction of perfection and increase their class status. For me, the educational system destroys students natural desire to learn.

These images form part of the artwork My University Course, but I decided to make them into a separate artwork for the sake of impact. The piece highlights the negative effects that grades, and other extrinsic rewards, have on students and the learning process. The ones that get the top marks from the 'top' institutions place too much emphasis on grade attainment and are deluded by the system into believing they have achieved something of inherent value, whilst less abled students get depressed, lose their vitality to learn, self harm and, in some cases, commit suicide. Displayed together in this way, the piece highlights the absurdity and ignorance of students who, by conforming to the system, are enclosed in a bubble of pereived success and who are unaware of both sides of the spectrum. It represents my knowledge of the system as a whole and the manner in which I take a philosophical approach to education.

Stupid Question (2010) This question was asked on a student forum by a typical Oxbridge graduate, who regards the grade as the be all and end all of his educational career. As long as grades are in place, students will continue to measure their success against meaningless, arbitrary numbers and letters with no inherent value. And as long as students 'play by the rules' of an unjust educational system, grades will always exist.

Anyone For Tennis? (2005) This piece is a simple statement/retalliation to the notion of 'conspicuous leisure', whereby people take up particular hobbies not necessarily because they enjoy them or for their intrinsic value but because of what it says about them, i.e. "I am of high social status". In the photo I am wearing silly shorts and socks pulled right up, and my feet are pointing inwards in a manner befitting of someone who doesn't engage in any discipline for its image.

This piece highlights our journey into artifice, covering four products of Western society.







My paintings mainly consist of figurative studies.






I have dabbled with sculpture using wood and metal, and I wish to pursue the discipline in the future.






I have made a number of interactive installations, turning viewer into user. I fathomed two unique artistic methodologies:

'SELECTABLE' OBJECTS IN SPACE, by projecting computerised interactive images onto objects, and allowing the user to select these objects using a mouse.

CONTROLLING SHADOWS THROUGH VIRTUAL ENVIRONMENTS, by projecting an interactive application, such as a virtual gallery, over objects and allowing the user to essentially control the shadow using a joypad.

These installations are largely about simply having fun and allowing kids to enjoy their time in the gallery, but also play with ideas concerning the role of the viewer/user and concerning anti-elitism and Art itself.

	VIEWER FIGHTER This piece displayed a video projection inside an enclosed room in the gallery of what was going on behind the wall it was projected onto. Visitors were to use a joypad inside the room. By pressing the buttons, computer voices saying "signification", "formal elements", "concept" and "iconography" were blasted out into the main gallery. Visitors inside the room could thus affect visitor's in the main gallery who would look over at the speakers.
	HYPERICUM When vistors hovered the projected mouse cursor over the surface of an artificial plant, consisting of a pot, a plastic tube and a light bulb, the plant appeared to grow as colours ran up it. Text rain poured down the wall. Ideally, I wanted the piece to be voice activated so that when people spoke the text rain came down and the plant grew, but I didn't manage to accomplish this.
	KEVALA In this piece the viewer is confronted by a video of myself practicing a yoga headstand, initially with straight legs pointing upwards. In the room is a telephone on a plinth with the wire connected to my mouth in the video. As the visitor 'selects' the telephone with the mouse cursor, the telephone lights up, makes a sound and makes me do a headstand with outstretched legs in the video.
	KID'S PLAY In the main lit gallery lies a kid's toy on a plinth. Once visitors have played with the toy, they can then go into the darkroom and watch themselves playing with it in a delayed video, which is inverted and projected onto the wall. This piece interestingly plays with the idea of making the visitor the artist, and makes the vistor consider their own role in the viewing of Art in the gallery.
	TIM BOT An interactive representation of myself, this piece shows a digital face on a screen along with a heart and stomach projected onto the manakin torso. The torso is connected to a telephone. I wanted it so that the telephone would pass communication into the bot and then' excrete' it out via printer but the technology at hand hindered its realisation.
	PLAY WITH BARBIE In this piece, a headless Barbie doll is placed onto a wooden block, and a game is projected over the top in such a way that she is holding and thrwing a ball, which could be her head.
	DAVE'S MUSIC This simple piece has a cheap imitation of Michelangelo's David listening to music on iTunes. The visitors are encouraged to skip through the playlist by pressing the arrows on the keyboard.

I have made a couple of Art Games which, on the exterior, are fun play things but that have a more serious conceptual element. Games are at the cutting-edge of technology and the gaming industry today is far greater than film.

FREEDOM FIGHTERS This piece is a rendition of the classic ardcade game Space Invaders. Instead of space invaders, I've used chess pieces and the sounds of of real gun shots and screams. I created the piece after I had studied Baudrillard's book The Gulf War Did Not Take Place, and it refers to how contemporary warfare is similar to video games, where there's no real physical battle between two sides.

Belief Wars This is a game of Noughts And Crosses. The player gets to select Ganesha, Jesus or Buddha to play as. You compete against the other religious icons and the final boss is Satan. I believe that we should embrace all different religions and see the connections between them. This piece highlights the triviality of religious hatred.

I have conceived a few ideas for net.art installations.

	Skin Donation Although never completed, this piece takes the photos of people's bodies, decreases the resolution so that the photos comprise of a few squares, and then presents the colours together with the corresponding Ascii value. The idea was to then take six colours from each person and create a box comprising of each colour on the sides.
	Soundscapes This piece presents various digitally remastered sounds from various places around the UK.
	CHI 3D The idea of this piece was to be able to control a real person around town (in this case Chichester) via a computer interface.

I constructed a series of installations.










My photographs largely play around with my own shadow.