iteration / structural condensation

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“structural condensation”  nov. 2013  (english version first)
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.

“structural condensation” (holger lippmann, oktober 2013)
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.

 

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triangulation


triangulation, 2017.2

made with code (processing)
vector 4 print

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triangulation-noise

triangulation-noise series, 2017

(made with processing)
vector 4 print
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particle board II

particle board II, 2017

(made with processing)
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depthMatrix III

depthMatrix, 2017
is based on an algorithm, which generates color map dependent diverticulum like reliefs formed out of different pixel layers within a 3 dimensional environment.
this software works with different keyboard input values to compose a rather painting like image out of different color maps.
color values of these map arrays are called by random, noise and/or manual order.

(made with processing)
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e-pastel 2016

_5121621022_e_pastel_14_9_3

the e-pastel series consists of a X Y axis grid of bezier vector curves. a separate vector curve class defines all vector properties such as color,
transparency and/or stroke weight. to later position them within different grid arrays.
different keyboard input values are used for a layered image build up.

 

(made with processing)

 

noise scape 4

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noise scape 4 series  (2016)
is a rework of an ongoing script. it morphs slowly into a kind of “romantic” landscape painting.
the technical basics are still very simple; rows of ellipses with some 2d noise and different color arrays. nevertheless, quite much fine tuning between all sorts of values and many little randoms and noises were done.. Details »

radial-division

P1000689

radial-division II (8987), vivera pigment print on MX1, stretched on a circular frame, 60 cm

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hairField

9114_hairfield_col_2_pale


hairField (2016)
made with code (processing), based on different perlin noise functions
vector 4 print

 

quantum_wave

19960_LineLandscape05_2_blue2


quantum_wave (2016)
made with code (processing), based on different noise functions
vector 4 print Details »

SeaGrass I

SeaGrass 1 (shortPreview) from holgerlippmann on Vimeo.

SeaGrass 1, 2016, 7:25min, loop  (1 min excerpt)
made with code (processing), using different noise and particle functions

FURFROLIC (hair field series)

72414_perl2_inv

FURFROLIC (hair field series), 2016
made with code (processing)
vector 4 print Details »