di · suh · sem · bl
„With this series I am tried to rid myself of the concrete….Life is so absurd and very abstract, once you step aside of the daily routine.
My artistic development arises from my uprooting as someone who grew up in two worlds. In no world at home I have become an observer. In my early days as a photographer, I consciously avoided depicting people in order to create something otherworldly and to take away the function and thus meaning of what I saw. Through this dislocation I created a feeling of emptiness. (Which can also be found in the portraits through the empty inner gaze.)
I transferred this constant act of searching to my observed environment and in return asked about its meaning and existence.
Some time later I turned to painting, because the of the change through digitalization of the medium of photography made me aware of how intangible this art form has become or actually always was. After a short figurative phase, I devoted myself to the abstract dealing only with the nature of the medium of paint.
I was interested in deconstructing
my former concrete representation of reality and thus to reset my viewing habits.
As children we all start with a squiggle and those squiggles have a meaning to us. At first that squiggle is just that uncoordinated mark on any surface. As we grow older our perception changes squiggles are no longer accepted. We learn how to copy the world as we see it. What once was an unidentified mark has now become a house, tree or a person. To take a step back again. A tree for instance exists of many different lines and marks, take one out of context and it is no longer a tree. By singling out these lines and marks, I try to take them out of their context, and in return ask myself to take a closer look at my surroundings.
ephemeral marks
In this body of work Timothy explores the relationship between mark making and the limitations of time.
For a long time now I have been fascinated by the ephemeral nature and what we leave behind. What started out as contemplation soon became a dialectic of impressions on canvas, leaving only a sense of what could have been and the unlikelihood of parallel realities.
under construction
