Corner  2014
ink on pre-primed canvas
 100 x 70 cm
Ambre  2013
ink on pre-primed canvas
 50 x 35 cm
Frost  2013
ink on pre-primed canvas
 50 x 35 cm
Vapours  2013
ink on pre-primed canvas
 50 x 35 cm
Ink #7  2015
ink on 5 pre-primed canvases
  each 100 x 70 cm, approx. 260 x 210 cm in total
Tim Beeby – Work Overview

Black Ink


“...the undifferentiated abyss, the black nothingness, the indeterminate animal in which everything is dissolved – but also the white nothingness, the once more calm surface upon which float unconnected determinations like scattered members..”

(Gilles Deleuze: Difference and Repetition)


Three complexes of work remain discrete but nevertheless interrelated. In the first, the so-called “inks”, streams of black ink are propelled across a horizontal, pre-primed and stretched canvas by a jet of air from an airbrush, the residual flows of now absent forces, an unconventional mapping of the release of energy previously stored in the air compressor. Whether it is ink or it is, as Manuel de Landa wrote in A Thousand Years of Non-linear History, "flows of lava, biomass, genes, memes, norms, money... the source of just about every stable structure we cherish and value", they are equally uncontrollable, but may be improvised with as they develop. In the second complex of “folds” the same pre-primed canvas is crumpled, tied in places and taped into position on the floor. A kind of mapping, this time of the crumpled canvas landscape, is again evoked. The airbrush releases a dense black fog, an inky microclimate drifting and settling on the mountainous terrain of the canvas. The highest peaks are exposed to the full force of this pigmental storm, receiving a dense negative snowcap, whilst steep ravines, protected within deep canvas folds remain completely untouched. The unfolded and subsequently stretched canvas bears no trace of its previous three-dimensional deformation but for the mapping of the process in ink, complete with ghostly linear traces of the string that had bound it. Both complexes embrace George Batailles’s “anti-concept” informe: that which eludes the rational and mathematical, or as he would have it the “formless amounts to saying that the universe is something like a spider or spit”. The third complex of “fragments”, comprising works on paper, likewise favours the literally lowly and horizontal, along with processes of chance. Dust, dirt and a variety of other studio remnants are scooped up from the floor and re-distributed on a white sheet of A2 paper. The resulting photograph is expanded upon digitally, using text and typographic elements, reappearing in the form of a black & white inkjet print on white A2 paper. The work on paper has been further developed recently, separating the various elements mentioned above, onto individual pieces of paper and adding “inks” and “folds” manually; the latter requiring the crumpling of the paper.


The work has increasingly become not only installational, with canvases being stacked horizontally to sculptural effect, but site-specific as exemplified by the fledging Wall Studies series in which ink is applied directly to the wall revealing a myriad of previously invisible detail and texture in an almost hallucinatory manner.




Inks:



Folds:
Fold #14  2016
ink on pre-primed canvas
  200 x 140 cm
Fold #16  2016
ink on pre-primed canvas
  200 x 140 cm
Fold #17  2016
ink on pre-primed canvas
  200 x 140 cm
Fold #18 - Version 3  2016
9 from a total of 11 pre-primed canvases. ink
  200 x 140 cm



Fragments:
Fragments #25  2015
ink jet print
 60 x 40 cm
Fragments #31  2015
ink jet print
 60 x 40 cm
Fragments #38  2015
ink jet print
 60 x 40 cm



Studio Installations:
Ink #11 - studio installation, autumn 2015
 Ink #8 - studio installation, summer 2015
Ink #14 - studio installation, winter 2015
Wall Studies - studio installation, spring 2016
Wall Study #1 - the artist’s studio 27.02.16  2016
ink on wall
 42 x 29.5 cm
Wall Study #2 - the artist’s studio 28.02.16  2016
ink on wall
 42 x 29.5 cm
detail of Wall Study #2 - the artist’s studio 28.02.16
Fragments series - studio floor installation, summer 2016 
approx. 100 x 400 cm, dimensions variable
detail of Fragments series - studio floor installation, summer 2016
detail of Fragments series - studio floor installation, summer 2016
detail of Fragments series - studio floor installation, summer 2016
4 Squares (Fold #1)  2016
4 pre-primed canvases (1 reverse side), ink
each 80 x 80 cm, 160 x 160 cm in total
4 Squares (Blank #1)  2016
4 pre-primed canvas (1 reverse side)
each 80 x 80 cm, 160 x 160 cm in total
4 Squares (Ink #1)  2016
4 pre-primed canvases (1 reverse side), ink
each 80 x 80 cm, 160 x 160 cm in total
Ink #17  2016
ink on 2 pre-primed canvases,
  each 100 x 150 cm, 100 x 300 cm in total
Fold #15  2016
ink on pre-primed canvas
  200 x 140 cm
Deutscher Text >>>Deutscher_Text.html
the Baroque house – installation views      >>>the_Baroque_house.html
das Barockhaus – Installationsansichten   >>>das_Barockhaus.html

 Tim Beeby – the Baroque house
Galerie Vayhinger, January 14 – February 19, 2017
the Baroque house


the folds in the soul and
the pleats of matter
The Painting Studio  2017 (detail of the installation)
4 inkjet prints on canvas (each 50 x 30 cm), wooden stretchers (70 x 40 cm – 140 x 100 cm)
dimensions of the installation variable
Info:

Tim Beeby is a visual artist and translator based in Essen, Germany.


In 2000 he was an award winner of the European Painting Prize in Ostend, Belgium, leading to a solo exhibition at the Museum voor Schone Kunsten in Ostend the following year. 2009 saw a further institutional solo exhibition at Kunstverein Paderborn, Germany. In addition his work has been widely shown, in both solo and group presentations at galleries and art fairs, across Europe including in Germany, Belgium, Austria and the Czech Republic. His abstract work debuted in Second Nature, a group show he co-curated for Galerie Vayhinger, Radolfzell, Germany in 2014.


As a translator he is currently involved in catalogue projects for Kunsthaus Bregenz in Austria; Hamburger Bahnhof – Museum for Contemporary Art, Berlin, Germany; and Zentrum Paul Klee, Bern, Switzerland / Phillips Collection, Washington DC, USA.

Copyright of the complete website: Tim Beeby

Contact:

E-mail: tim.beeby@t-online.de

Tel: ++49 (0)201 774020

The Painting Studio
An Installation
The Painting Studio – installation views      >>>The_painting_Studio.html