Marcus

Bering / Tilman

12-04-2005 10-05-2005

TILMAN

*1959 in Munich (Germany) Lives & works in Brussels (Belgium) & New York City (USA)

Since his early experiments in photography in the late ‘70s, the investigation of the element ‘light’ has been the primary focus of Tilman’s artistic practice. His works can be understood as a carrier, a mediator of light in its physical quality. Exploring continuously more refined ways of presenting color as transmitter of ‘light’ while seeking a more concrete dimension of perception, Tilman’s choice in the form/color debate has always been clear: form and structure are a vehicle for the interaction of colors. His decisive break from gestural abstractions in the move to an apparent hard-edge style along with his transition into the three-dimensional realm amounts to a ‘painterly’ translation of light and a new way of exploring the nature of color relationships while simultaneously re-contextualizing the ‘practical’, daily object. With his use of more ‘practical’ materials (Polyurethane, industrial lacquer, aluminum, MDF, plexi etc) extends his palette as he brings up the common connotations of color for review. Tilman’s specific overtures towards the architecture of a given (exhibition) space determine the space as a framing component for the featured ‘elements’, whose inner relationships often mimic the overall installation strategy. In refining the intellectual as well as the physical stand points of his audience, Tilman’s spatial interventions invite participation, projection and reflection in the realm of the visible - light, its potential and its impact. Tilman’s practice includes two- and three-dimensional works, spatial interventions, works on paper, and multiples.

MARCUS BERING

German artist Marcus Bering studied art history, philosophy and graphic design in Germany and subsequently sculpture at the Academie Royale des Beaux Arts, Brussels (B). In 1987 he was awarded a Fulbright scholarship for the University of Missouri (USA)

Bering’s work, two and three dimensional, methodically explores the line. Like in all research, he is conducting both rigorous systematic analysis, as well as taking more instinctive decisions on which paths to follow and which to leave behind. He gives an important role to the physical sensations during the creative process: the conscious perception of touch and muscle tension itself; the effect of material characteristics on the process of form giving and the works extension in space. Depending on the work, these aspects take greater or lesser priority. In some cases the close physical senses become more important than the visual form. (…) His current production follows various possibilities of drawing. Beginning with the most minimal intervention possible, the point, continuing with the line (a moving point in space, as he defines it), he chooses to primarily work with the curving, organic line. Extremely methodical in his research, he imposes a basic principal, linked to physical perception. This can be a materializing of biological rhythms ( breathing, heartbeat, ...) or the testing of physical limits (to draw as fast as possible, until the muscles tense up and stop moving). Corresponding to this systematic approach, his drawings are executed in series, with standard paper size and drawing tools. (pencil on A4 paper) and most recently in large wall drawings. (…) Bering expands his research of line into the third dimension. His wire sculptures are lines in space, drawings that have taken on volume. (Véronique Linard)

related link: http://www.lookawry.com/

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Bering