“In looking at Tulloch’s ongoing Postcard Series, the origins of these collages stem from the processes of other bodies of work. Made from offcuts, remnant splices from old postcards, and holiday photographs, these fractal assemblages are patchworks of different contexts and subjects. Their raison d’être is not to make or find meaning; they are not endeavouring to write an alternative narrative, or construct a believable reality. Rather, their logic is intuitive, born from a marriage of formal concerns and perceived thematic associations. Often geometric, built from the unapologetic, irregular hard edges of triangular and rhomboid forms, ideas of linear perspective are impossibly manipulated. As a point of entry, we are often led into the image by a dominant axis of converging cuts, and yet outside of that channel, the expectant cues as to size, scale, and depth are lost in broken and abstracted forms: horizon lines shift, foregrounds collapse, and tonal gradients strobe as a medley of photographic subjects converge.
That Tulloch hung on to these decontextualised, disembodied fragments may superficially be put down to an element of nostalgia. Yet the exercise of their regeneration (and indeed the act of destruction that elicited their existence as such) is more objectively keyed into concerns of image-making in the here and now than any sense of collecting for perpetuity’s sake.”