The landscape collages of Timothy Shepard merge several practices which gave much of 20th century art making its tension. Those being painting and photography and the interaction between the two. On the one hand they represent nature in a painterly way and on the other rely on photography to arrive at their representation of reality.
These works are sly in the way they evoke the truth of nature and yet that truth is created whole cloth from a media of mechanical reproduction. In this way they evoke the American tradition of the natural miniaturist Joseph Cornell and Nell Jenney while referencing the recent European tradition of painterly hyperreality.
Work on a Landscape Collage begins within a particular landscape or place, and the overlaying of impressions and perceptions in the artist's mind. Shepard uses a camera to capture and record this experience, photographing the numerous individual elements which unselfconsciously catch his eye, but which nevertheless combine to form a memory of the place.
Back in the studio, the artist reassembles these elements, layer upon layer. Hundreds of image fragments form the final picture, with a fluidity and interconnectedness that express both the actual and imagined - an omnijectivity of the plural viewpoint. This is how the mind conceives the landscape - both in the present of seeing it, and creatively as a memory. Memory is a collage.