I wanted it to be a very contemplative piece. I wanted the blue to be quiet and introspective to contrast with Canada's brittle energy.

                     - Tim Jocelyn, c. 1986.

Here Tim Jocelyn is talking about his piece The New Dimension Astrolabe. It was shown at Vancouver's Expo 86 in the Canadian pavilion. In this large construction a cool blue outer world surrounds an earth world tingling with energy in reds and yellows. It is covered with symbols and designs cut from brightly-coloured vinyl film and appliqued on to the surface.

This method of working began in his youth when he learned how to use a sewing machine. It has lead him through the production of banners, folding screens and even art-clothing for Dressing Up (1984). His spirit and energy drove the event/performances related to this show to a "chaotic and exhilarating" triumph (Kay Kritzwiser in the Globe and Mail).

The exposure from this show and others in which he was involved during the mid 1980s caused his graphic style to be taken up by the populist designers so that to some extent is has become a part of our cultural milieu. The consideration of the relationships between art and design are often in the forefront of Jocelyn's work.

His late works, of which The New Dimension Astrolabe is an important example, demonstrate the beginnings of a particular concern with Canadian icons and familiar cultural emblems. His early death now tinges our view of these works with tragedy and sadness.

The Icarus Series [1985, each panel 41 x 165cm, silk, leather and brocade]

II. Descent of Icarus, III. Beatification of Icarus, IV. Mondo Icarus