He studied at the Hochschule der Bildende Künste in Braunschweig (1998 – 2000) and the Kunstakademie in Düsseldorf (2000 – 2002). 1975, Heinsberg, Germany)is one of the most important protagonists of contemporary computer generated art. In a style akin to that of Albert Oehlen or Christopher Wool, Berresheim challenges the history of mark making and the status of painting in an embrace of new media. His bold use of color and strong use of line define these works, employing technology in an inventive new way. Scheuche (wood) IX and Scheuche (wood) VIII display his fascination with images of graphically rendered hair that can be decontextualized to create startling and bizarre juxtapositions. Berresheim continues his exploration into the relationship between technology and painting, resulting in a dynamic group of works that alternate between abstraction and figuration. However with a slightly surrealistic twist, his collages Future Gipsy Antifolklore IV and Future Gipsy Antifolklore VIII 2010, are also within the Adrastus Collection and present a style that has been defined as modern digital post-Internet art. In Tim Berresheim’s photographic work, the manipulation is not the center of attraction, but an offensively formulated practice, as he repeats it in other works in later years. Ironically this is also teased in the title Scheuche that translates to Scarecrow.
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Particularly in these two works, one can visualize the low-technology style used to mimic that of Renaissance painting, shown in these feather-like strokes that give shape to brushstroke rather than a bird. They are plausible, as Berresheim himself describes them, in that physical and natural laws are followed, obeyed and underpin the representations of the constructed fantastical imagery. His earlier works were made from elaborate sets that were constructed in his studio, and more recently the artist works with state-of-the-art CGI and DGI technology. The images are situated in three-dimensional, illusionistic space as the print on wood has a great sense of depth and color, each feather a different color and shape. In the pictures, the print has a brush-like imagery, however the artist creates a feather effect for its final touch.
TIM BERRESHEIM CONDITION TIDINESS RUDE FISH 1 SERIES
He produced a series of works in 2007, including Adrastus Collection’s Scheuche (wood) IX and Scheuche (wood) VIII, both of which encompass this idea of traditional panel painting with computer-generated imagery. Whilst he is working as an artist and musician, he is also founder of the record label and project space named New Amerika. Berresheim takes these juxtapositions a step further by printing his images by inkjet onto wood and therewith combining the technologically astute digital quality of his work with an organic and traditional printing surface.” īerresheim lives and works in Aachen, Germany and can be considered as one of the main protagonists of contemporary, computer-generated art. His abstracted line work is explained as ‘tangled compositions’ that evoke a likeness with expressive brushstrokes, and yet, “they reveal themselves as precise three-dimensional digital renderings. The artist’s methods holds unlimited possibilities of production through automation, whilst portraying his deep understanding of the pre-media art within its historical context, playing with the Western iconography in order to explore, critique, and illustrate the contemporary relationship between art and technology.
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Tim Berresheim typically confronts his artistic eye with the potential for digital art, mutating traditional methods and combining media like photography, painting, and collage with digital technology.
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Scheuche (wood) IX / Scheuche (wood) VIII