Timoney’s work primarily looks at our relations with materiality and drawing.
She states: “Drawing is used as an archive for emotions, experiences and as tool for accumulating information from a variation of sources such as the history of painting or pop culture. I then embody this data through a language of gestural materiality. The objects I make are extensions of the drawing and painting as I allow them to enrich the objects and contrariwise. I aspire to create objects that are spontaneous, anxious and provisional. Chancing failure and accidents I permit the materials to manifest themselves into tactile, haptic, delectable objects. I try to attain a tension between preciousness and garishness, highlighting the manufactured against the handmade. I want them to verge on the gaudy, but only just.”
“My practice examines language, communication. I think about my work in a bodily way, how we communicate and interact with material and how objects too can speak with one another. I misappropriate a lot of familiar objects, removing their function so they become an intimate visual, sensuous experience. My practice is a playful exploration of these traditions and through an abstract vocabulary I aspire to create objects that have a quality of spontaneity and imperfection within them. Researching and experimenting with textures, colours, materials and forms I want to provoke a visceral, immediate and intimate experience with the viewer. I would endeavour to employ the observers’ senses as a mode of communication and language. I am attempting to tap into the spectator’s memory or subconscious.”