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Holger Lippman: from electronic music to painting

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“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 institut 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 have to work the same way like the music i was listening to was made .
i passed another 1 year multimedia design education. 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 html, css, lingo and actionscript, processing opened a whole new world of basic and minimalistic studies. 
2007 i started seriously working with processing and haven’t done any other ever since.

deep inside i’m a painter and i always was. so i see my work best described in the traditional context of painting. 
the focus lies on the development of an image and color 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 like when you are pulled 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.

is my work based on a stringent conceptual structure of negation. the many thrown outs mark an approximate way through the dark;
– neither stories nor figures, – neither meaning nor pity, – the color juggler needs to have at least more than 2 balls, …to name just some.

on the other hand
the implication of algorithmic structuring by mathematical 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 are unlimited scale-able without a loss of quality. I usually realize 3 prints; 
one unique print in a smaller size about 80cm (+-) width, one unique print in a medium size about 1 meter (+-) width, 
and 1 unique print in larger size 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 would be ideal.
all works are programmed and realized with processing.

illustration abloh 2

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