(cv.text, may 2012)

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 at cimdata berlin. 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.

itself became more and more indispensable. after learning 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.

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.

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.

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 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.



Generative Painting – Wolf Lieser [DAM] Berlin   (english version first)

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.


Generative Malerei – Wolf Lieser [DAM] Berlin

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




Interview with Holger Stark from wolkenbank gallery   (english version first)

Holger Stark: Holger, we met during the 80’s at the Art Academy Dresden. From todays point of view, do you happen to look back sometimes a bit longing to the smell of wood
and the plaster dust of your sculptor’s studio?

Holger Lippmann: Not really. Today we live close to the woods and fields within beautiful nature with two little kids and much space to perform and experiment for young and old.
In addition to that, our nice studio with computers, printers,  software and networks…, simly the best of everything! The study at the Art Academy was good, but not to cling on it.

H.S.: This performance at that time, at the Brühlsche Terrasse – the balcony of europe – a tumbeling trashcan pyramid, was that your first project to realize a dynamically
generated piece of art?

H.L.: thank you!;) I experienced the art marked free zone as an exiting playground. When i now look back that long way, i notice some sort of paralles to the development of the
20th century art history to all what i did, like an embryo, which has to undergo the whole genesis in small…

H.S.: When and Where did you discover the computer for your artwork? Did you already have any idols or was it rather a playful evolution,  for instance out of a technical

H.L.: 1993 i made a practical training at the New York Institut of Technology. This was mor a result out of a big crisis, some kind of cultural shock. back in these days, i felt like a
stoneage man With the pencil in my hand. I had a pretty strong urge to do something socially integrated, ..also as an artist.

H.S.: You just sold the complete edition of 100 at the LUMAS edition gallery of the work „the inner light II“ (which by the way is my favorit too), an exiting experience for you?

H.L.: To be quite honest; if i only could be just happy about it! I’m a mercyless fighter for perfection, if you ask me for the LUMAS works i imediately think of parts i could have
done better and so on… thanks for the wake up call!;)

H.S.: When i open your website, everything is in a flux, always recent works up. Globally many people see imeadiately your new works. Doesn’t digital art want no quiet, the
ripening process and surface quality like in traditional sculpting?

H.L.: I know it’s terrible. Afterwards i take many things out again. The blog is my Street, at which i locate my “open studio”. i never liked The encapsulation within artist ateliers.
When i see indian manufacturers open near on the street, i feel a kind of longing to that openness. Via the www i live this new openness, together with a whole generation.
This exactly is my ripening process! I love to lay everything open and change it again and again as part of the process.
On the other hand, I know the artist’s studios of well known names, and i know there’s alway much junk, that’s normal and has to be taken in account. the art marked stylized an
unfailable artist idol, which is simply not true and – i think – will be changed by the new www age.

H.S.: What would be if computers would die out?

H.L.: Your questions don’t go like; what is he doing with the computers, but more; what was before and will be after. …i don’t know, I am a child of the computer age.

H.S.: Shurely, I notice with captivation the development of digital art. But I’m particularely interested in the fast changes taking place in this realm. Maybe one day one can’t make
art without computers anymore?

H.L.: A good question! I don’t know if i could make fire with stones, i have never tried.

(February 2011)



Interview mit Gallerist Holger Stark, Galerie Wolkenbank

Holger Stark: Holger, wir haben uns Mitte der 1980er in der Dresdner Kunsthochschule kennen gelernt. Denkst Du heute manchmal ein wenig sehnsuchtsvoll an den Geruch des
Holzes und den Gipsstaub im Bildhaueratelier zurück?

Holger Lippmann: Nein. Heute leben wir am Waldrand, offen zu Feldern und Wäldern in schöner Natur, mit zwei süssen Kindern und viel Platz zum Toben und Experimentieren
für gross und klein. Dazu dann noch die Arbeit mit Software und mit der Welt vernetzt. Einfach von allem das Beste! Das Studium an der HfbK war gut, aber nicht so gut um daran
hängen zu bleiben.

H.S.: Diese Performance damals, eine auf die Brühlsche Terrasse, den „Balkon Europas“ stürzende Mülltonnenpyramide, war das Dein erster Versuch ein dynamisch generiertes
Kunstwerk zu schaffen?

H.L.: Ich habe die Kunstmarkt freie Zone als eine experimentierfreudige Zeit erlebt. Wenn ich jetz auf meine Entwicklung zurückschaue, sehe ich parallelen zur gesamten
modernen kunstgeschichte, die irgendwie abgearbeitet werden mussten, ebenso wie ein embryo die gesamte philogenesis durchmachen muss…

H.S.: Wann und wo hast Du für Deine Kunst den Computer entdeckt? Hattest Du schon Vorbilder oder war es eher eine spielerische Erfahrung, z.B. aus einer technischen
Anwendung heraus?

H.L.: Ich habe 1993 in New York ein Praktikum am Institut of Technology gemacht. Es entstand eher aus einer Kriese, eine art Kulturschock. Mit dem Stift in der Hand kam ich mir
vor wie ein Steinzeitmensch, ich hatte einen starken Drang auch als Künstler gesellschaftlich integer zu sein.

H.S.: Du hast gerade in der LUMAS Editionsgalerie die komplette 100er Auflage Deiner Arbeit „the inner light II“ (übrigens einer meiner Lieblingsarbeiten) verkauft.
Ein aufregendes Erlebnis für Dich?

H.L.: Um ganz ehrlich zu sein;  wenn ich mich nur darüber mehr freuen könnte! Ich bin ein unbarmherziger Kämpfer nach Steigerung der Form. Wenn ich an die Lumas Reihe
denke fallen mir gleich Sachen ein, die ich hätte noch besser machen können. Danke für dein Wachrütteln!

H.S.: Wenn sich Deine Webseite öffnet, ist alles in Bewegung, immer alles ganz aktuell. Weltweit sehen viele Menschen sofort Deine neuen Bilder. Braucht digital art keine Ruhe,
die Reifung und Oberflächenpatina aus der klassischen Bildhauerkunst?

H.L.: Ich weiss, es ist schlimm. Im Nachhinein nehme ich wieder viel raus. Der Webauftritt ist für mich die Strasse, an welcher ich mein „offenes Atelier“ habe.
Die Abkapselung in Räumen ist mir schon immer unnatürlich vorgekommen. Wenn ich indische Handwerker an der Strasse sehe, überfällt mich eine Sehnsucht nach dieser
Offenheit. Realität im www zusammen mit einer ganzen Generation.
Ich liebe es absolut alles offen zu legen, um später wieder und wieder zu verändern, das ist teil des prozesses. Ich kenne die Künstlerateliers bekannter Namen und weiss,
dass alle viel Ausschuss machen. Das ist normal und sollte bekannt sein. Der Kunstmarkt stilisiert den Mythos des Edlen, der Fehlerfreiheit.

H.S.: Was wäre wenn – Computer aussterben?

H.L.: Ich sehe schon, deine Fragen gehen nicht in Richtung „was machst du eigentlich mit dem Computer?“, sondern gezielt auf das was davor war und danach sein wird…
Ich weiss es nicht. Ich bin ein Kind des Computer-Zeitalters.

H.S.: Oh, natürlich registriere ich mit Spannung die Entwicklung digitaler Kunst. Mich interessieren aber besonders die für mich immer schneller werdenden Veränderungen
auf diesem Gebiet. Kann man vielleicht irgendwann ohne Computer keine Kunst mehr machen?

H.L.: Eine gute Frage! Ich weiss nicht ob ich noch mit Steinen Feuer machen könnte, ich hab`s noch nie versucht…

(Das Interview wurde im Februar 2011 geführt)



Office tale of Holger Lippmann, self-employed artist  INTERVIEW with baronmag.ca

Who are you :
I am Holger Lippmann

Your current job :
Self-employed artist

In which city are you located?
Outskirt of Berlin

A word to define what kind of worker you are :
One who was playing and dreaming around all his younger age and works a bit too much now

What tools are essential to your life (app, software, etc..)
PC’s everywhere … processing, adobe, blender, rhino, …

What does your office space look like?
8 years ago we, together with my girfriend, build our dreamstudio. it’s basically a 10x7x5 meters osb cube.

What kind of music do you listen when you are working ?
Love listening to the enormous quiet out here

Do you have a way to organize your day to maximize your work ?
we have 2 children, they organize our time-frame

What tips would you give to improve productivity ?
when one thing is finished, getting as much distractions/stimuli in the interim

You’re better than your colleagues to :
we’re all standing on shoulders…

What is the best advice anyone has given you ?
keeping main attention to the large composition in mass/color/direction/distribution…
making visual music, not getting distracted by content and detail, putting your image sometimes upsidedown while working on it

What is your best tip for saving time ?
always focus on just one thing at a time

What is your routine start and end of the day ?
start->coffee, end->turning off thoughts

Aside from your computer and your phone, what gadget can you not you go without?
guitars at home, sun glases on the way



“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.


holger lippmann, august 2014




bauhaus small writing

depthMatrix IV

depthMatrix IV (2018)
is based on an algorithm, which generates color map dependent diverticulum like reliefs formed out of different pixel layers within a 3 dimensional environment. by using RGB values of different photos, sorted either within a random array or run by manual order (keyboard), i’m weaving partial color layers of images together.
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.
with the mouse i control sometimes the depth & distortion, so the whole process is kind of an action painting, mixing forms and colors and structure…
parts of the motifs came together during my walks in the lake district of brandenburg, north of berlin, during the great summer of 2018.
software coded in processing
output: vector for print (unlimited scalable )

Details »

nostalgia-algorithm (gen-draw II)

nostalgia-algorithm / gen-draw II is a generative drawing work-series i’m already on for quite a while. it’s based on an automated RGB value dependent curve (bezier) drawer. by using different photos, either within a random array or run by manual order (keyboard), i’m weaving image layers or parts of images together.
with the mouse i control the curve radius and stroke width. so the whole process is kind of an action painting, mixing forms and colors and structure, very speedy. mostly it produces much trash, a few to keep…
the motifs came together during my walks in the lake district of brandenburg, north of berlin, during the great summer of 2018.
software coded in processing
output: vector for print (unlimited scalable )

Details »


DATA-DADA is a software based interconected packing algorithm, which reads different color map arrays, either by random, noise and/or manual values.

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abracadabra 82247

the abracadabra series is made with a set of square frames using processing svg load. the disableStyle(); function is used for code based coloring and the getChild(); function
for individual coloring of polygon parts out of one multi poligonal svg file. it uses an svg array list. the iteration algorithm is dividing
a shape down within a x-9 level loop. each repetition of the process is also called an “iteration”. the results of one iteration are used
as starting point for the next iteration. a whole bunch of commands are either random and/or on keyboard/mouse action for recording…
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radial-division II (8987), vivera pigment print on MX1, stretched on a circular frame, 60 cm

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noiseGrid, 2018, made with code (processing), vector 4 print

shifting pixel sorting data out of landscape photos into a 2D noise matrix…

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triangulation, 2017.2

made with code (processing)
vector 4 print

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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)
Details »

e-pastel 2016-18


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.

Details »