DATA DADA (271)

source: highlike

Work: Part of DATA DADA work series Looking back at my accomplishments over the last years, I recognise apart, from various formal approaches, a continous drive for structural condensation. For structural condensation up to a point where the shapes begin to apparently depart from their usual meanings and are not clearly perceptible anymore. In this structural void an entirely new pattern for composing comes into being – an abstraction of fissuring and reformation. Seen in a sober and technical manner, one may perceive the eternal balancing of meaning, magnitude, colours, shades and properties in order to make out a sound in this ravaged chaos. Most like to walking a tight-rope with concrete and depictive dynamics on one side and the white noise of ambientesque or tranceesque rhytmical harmony on the other.
Photographer: Holger Lippmann
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source: lumicon

Looking back at my accomplishments over the last years, I recognise apart, from various formal approaches, a continous drive for structural condensation.
For structural condensation up to a point where the shapes begin to apparently depart from their usual meanings and are not clearly perceptible anymore.
In this structural void an entirely new pattern for composing comes into being – an abstraction of fissuring and reformation.
Seen in a sober and technical manner, one may perceive the eternal balancing of meaning, magnitude, colours, shades and properties in order to make out a sound in this ravaged chaos.
Most like to walking a tight-rope with concrete and depictive dynamics on one side and the white noise of ambientesque or tranceesque rhytmical harmony on the other. i come
pretty straight from visual art. started painting as teenager, did evening courses, studied at the art academy dresden and did my diploma for sculpture. then i was 2 years masterstudent, studied post graduate in stuttgart, paris and later moved to brooklyn, new york, where i attended a first computer graphics internship at the institute of technology, ny..

when i came back
to germany in 1994, i moved to berlin, right in the middle of the electronic music boom, i started pretty radically to work with computers (only), i knew I’d have to make art in the the same way as the music i was listening to was made . i spent another year learning about multimedia design. since then, none of the fascination of working with software and internet based networks has abated. i never felt any reason to move back to paints and traditional artistic work.

programming
itself became more and more indispensable. after html, css, lingo and actionscript, processing opened a whole new world of basic and minimalistic studies. 2007 i started seriously working with processing and havn’t taken up any other methods ever since.

anyway,
deep inside i’m a painter and i always was. so i think my work should be best described in the traditional context of painting. the focus lies on the development of an image and colour composition.

sometimes
it is like coming home and feeling full of an expression that, out of its own energy, is longing to become materialized. even in that moment when i would start painting, i don’t have any direct image up on my inner screen. that wouldn’t be fun. just as when you are compelled to go onto the dance floor by good music, you do not exactly know what’s next… i like to compare my work process to dancing or improvising music. it’s like the process of developing a (most nearly) finished composition throughout a performance or play. for me it is the way in which evolving form elements start organizing and – in the best case – combine to form a fascinating image.

nevertheless
my work is based on a stringent conceptual structure of negation. the many things I throw out leave an approximate pathway through the dark; – neither stories nor figures, – neither meaning nor pity, – the colour juggler needs to have at least more than 2 balls, …that’s saying the least. on the other hand the implementation of algorithmic structuring by the mathematical visualisation of forms and behaviours, has a basic priority in my work. to me it offers a meta level of looking at/into nature.

on the other hand
the implication of algorithmic structuring by mathmatical visualisation of forms and behaviours, has a basic priority to my work. to me it offers a meta level of looking at/into nature.

the print work series
shown here, are programmed and recorded as vector files, thus they have unlimited scalability without any loss of quality. I usually realize 3 prints; one unique print in a smaller size of about 80cm (+-) width, one unique print in a medium size of about 1 metre (+-) width, and 1 unique print in a larger size of about 1,80 m (+-) width. since the file format allows unlimited scalability with no decrease in quality and these works are mostly based on very dense and finely generated structures, extra large prints can be most ideal.

all works are programmed and realized with processing.
Holger Lippmann describes a part of his work as digital painting. What distinguishes digital painting from traditional painting on canvas or paper? We need to distinguish between
two categories of digital painting. The first includes works created on the computer with ready-made graphic tools like virtual paint brushes or pens, in something like the way
that non-digital pictures are created on paper or canvas. David Hockney’s painting of a sunflower on an i-pad is an example of this. The second category includes works using
computer generation, in which programs coded by the artist continually produce new aesthetic concepts as images or animations. Every execution of the software creates new
works within the pre-defined boundaries of the system. This process can be called generative painting.
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source: lumicon

wenn ich auf meine arbeit der letzten jahre zurückschaue, sehe ich neben vielen unterschiedlichen formalen ansätzen ein durchgehendes interesse nach dichte. das immerweitertreiben von struktureller verdichtung, bis zu einem punkt, an welchem die formen scheinbar ihre erkennbaren ordnungen verlieren, oder gerade noch erahnen lassen.
zurück bleiben spuren von verwüstung, welche in sich neuartige kompositionelle raster enstehen lassen, eine abstraktion der zerklüftung und neuordnung.
genauer betrachtet ist es das ewige ausbalancieren der wertigkeiten; grössen, farben, richtungen…, um innerhalb dieser zerschredderten pixel-felder einen klang zu finden. ein seiltanz zwichen gegenständlich, erzählerischer bilddynamik, und einem amorphen rauschen, eines ambient- oder trance-artigen, rhythmischen gleichklanges.

Holger Lippmann bezeichnet einen Teil seines Werkes als digitale Malerei. Was unterscheidet die digitale Malerei von der traditionellen Malerei auf Leinwand oder Papier?
Grundsätzlich würde ich innerhalb der digitalen Malerei noch eine weitere Differenzierung sehen: die Arbeiten, die am Computer mit Hilfe von vorgefertigten Graphik-Werkzeugen
wie virtuellen Pinseln oder Stiften wie gemalte Bilder erstellt werden – wie es David Hockney kürzlich publikumswirksam vorgeführt hat, in dem er auf dem i-pad ein
Sonnenblumenbild malte – und die generativen Arbeiten mit dem Computer, wo mittels selbst geschriebener Programme ästhetische Konzepte als Bilder oder Animationen
kontinuierlich Werke hervorgebringen. Jedes Ausführen der Software kreiert im Rahmen des vordefinierten Systems neue Bilder. Diesen Prozess kann man als generative Malerei
beschreiben.
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source: seditionart

Holger Lippmann (b. 1960, Mittweida, Germany) lives and works as freelance artist in Wandlitz c/o Berlin 1985-1990 study for sculpture at the Art Academy, Dresden | diploma 1990-1992 2 years masterstudent with Professor Klaus Schwabe/Art Academy, Dresden 1991 stipend of the County Baden-Württemberg, study at the Art Academy Stuttgart stipend at “l’Institut des Hautes Etudes en Art Plastiques – IHEAP”, Paris lectures with Pontus Hulten, Daniel Buren, Sarkis among others 1 year residence in Paris 1992 trainee at the Institut of Technology, New York | computer art department 1992-1994 2 year residence in Brooklyn, New York 1997-1998 1 year postgraduate education for multimedia at CIMdata, Berlin since 2006 several lectureships at the Art Acadeny Dresden | Media Class latest shows 21.11. – 08.12. 2013 | Line Drift Loci | Campel Works, London (group) 06.09. – 29.09. 2013 | IKONO On Air Festival LINK 21.07. – 24.08. 2013 | DATA DADA | gallery Wolkenbank, Rostock (solo) LINK 30.03. – 28.04. 2013 | Kunsthalle Kühlungsborn, together with Udo Rathke LINK 26.10 – 07.11. 2012 | Plüschow Lounge, Castle Plüschow, artists of the gallery wolkenbank (group) LINK 27.10. 2012 | Kunst Heute, Kunstkaten Ahrenshoop, computer installation 01.06 – 30.08. 2012 | Galerie Alte Schule, Ahrenshoop (group) 11.09 – 14.01. 2012 | mince pies2 | galerie wolkenbank, Rostock (group) LINK 05.09 – 25.09. 2011 | b/w borderline galleria espoonsilta, Espoo/Helsinki / Finnland (group)
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source: microsiervos

Holger Lippmann tiene una preciosa galería de trabajos de corte matemático, con dibujos e ilustraciones sobre patrones, recursividad, fratales, caos y unas cuantas ideas abstractas más. También son preciosas sus animaciones, como esta trampa de trampa de arácnidos objetos matemáticos que recorren la pantalla de una forma muy peculiar y hasta se diría que… inquietante.