Melbourne-based designer and publisher Tim Coghlan has built his body of work around the results of both erratic and strategic searches using Google Images. Comprising lo-res, amateur, and public domain photographs of burning churches found online, ‘Hell’s Gates’ poses questions of iconography, typology, and the implications of images. How does mythology affect the way we read images and make meaning, and why are some images deemed impossibly offensive, while others not? Coghlan searches for the limits of the democracy of images in his work, addressing the ubiquity of digital images and other visual information incorporated in the contemporary experience.
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