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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spiral scratch

32678SPIRALING_m_MY_m10_5

 

spiral scratch, 2009
made with processing
vector for large print

  Details »

c-flower

Effervescent-Everpresent
2008/09
pigment on canvas
200x300cm ( 3 parts)

 

c-flower is based on a bezier vector curve forming a flower like shape by by rotating it and deforming it by random and/or noise values.
the coloring is made with read out of predefined color map arrays and layering.

 

 

 

 

curve drawer 1

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schorfheide, 2010

 

the  curve drawer series is based on a vector curve function which reads out a color map or map array and draws in differently occillation structures over the stage, controlled by different mouse action.

 

 

 

 

swirl

V_Flower_PLUS_03-06

 

swirl series, 2009
based on a rotating bezier curve and color map read out.

 

 

 

 

de jong

 

de jong series, 2008

these works are based on the simple Peter de Jong map equations:
x’ = sin(a * y) – cos(b * x)
y’ = sin(c * x) – cos(d * y)

For most values of a,b,c and d the point (x,y) moves chaotically. The resulting image is a map of the probability that the point lies within the area represented by each pixel. As you let it render longer it collects more samples and this probability map and the image becomes more accurate.
Details »

barnsley penrose

 

 

the barnsley penrose works are made around 2005, using the open source fractal software ultra fractal.
basically barnslay and penrose formulas are used in different other combinations and layers with different transform layer options.go to wikipedia: penrose-tiling

 

 

 

 

 

 

 

 

 

 

 

deep laser engraving series, 1014

 

 

 

 

spectr|a|um

spectraum01
spectr|a|um audio visual lounge
29. september 2007, Dexia Tower Brussels
LAB[au] and Dexia Tower invite:
Holger Lippmann (photos),  Limitatzero,  Olaf Bander