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Tim Flach (born 16 April 1958 in London, United Kingdom) is a London-based photographer, artist and director, with work in several major international public collections, including the National Media Museum, UK and theSwedish Museum of Natural History. He is best known for his highly conceptual images of animals...[1] ...using principles of human portraiture… and a vocabulary of gestures and looks which seem to echo our own and play on our predispositions and sympathies.[2] He is the author of the books Evolution,[3] Equus,[4] Dogs Gods,[5] and More Than Human.[6]


Education and work[edit]

Tim Flach studied Communications Design at the North East London Polytechnic (1977–1980) and then Photography and Painted Structures at Saint Martin's School of Art (1982–1983).[7] He soon began to attract commissions and was working independently from 1983 and has since then contributed to the likes of National Geographic, Smithsonian Magazine, The Sunday Times,[8] The New York Times and New Scientist. His fine art prints are represented in London by the Osborne Samuel Gallery.

Photography[edit]

Flach's work has increasingly focused on animals, ranging widely across species but united by a distinctive style that is derived from his concerns with anthropomorphism and anthropocentrism. His interests lie in the way 'We shape animals, and we shape their meaning. Whether genetically, as with the featherless chicken of my photograph, or with the symbolism that gives a special significance to a dove but dismisses a London pigeon as a flying rat.'[9] He states that his images ‘aim to illuminate … the relationships between human and non human animals – to make an enquiry into how these relationships occupy anthropocentric space within the contexts of ethics, history, science and politics.’ [10] Flach's images have been described as a system for thinking, constructed and questioned by animal imagery: "Nobel Prize-winner author Elias Canetti penned an aphorism that could easily be applied to Flach – a person who 'thinks in animals as others think in concepts'."[11]

Flach’s often abstract photographic style has been described as “the perfect antithesis to anthropomorphism”.[12] "Flach employs the artistic technique of defamiliarization in many of his studio portraits, creating deliberately ambiguous close-ups, which present the subject at unusual angles in order to provoke questions from the viewer."[13] Surrounding many of these images, like a filter or a screen, is a sense of exploring the concept of Umwelt – the unique way of reading the physical environment that each species inevitably has.[9] Flach's inquiry is at once highly intellectual, subtly political, and at the same time charmingly visual. There are multiple agendas being explored that confront us with our behaviour in and around other living things