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, 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, Fragments, comprising works on paper, likewise favors 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, isolating 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 also site-specific as exemplified by the exhibition The Baroque House and 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:
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 #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
Ink #11 - studio installation, autumn 2015
 Ink #8 - studio installation, summer 2015
9 Canvases - 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
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
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:

Copyright of the complete website: Tim Beeby

Contact:

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

Tel: ++49 (0)201 774020

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

Particles  2016

multi-part installation comprising 78 works on paper and one found magazine page in a handmade box, and a wooden display table,

dimensions of the complete installation, 240 x 75 x 160 cm

Particles  2016

view of the handmade box and contents

Particles  2016

view  of the installation in the studio

Particles  2016

detail of the installation

Particles  2016

detail of the installation

Particles  2016

detail of the installation

 unsigned untitled undated

                                                                    23 – 26 November 2017


           4 day conceptual exhibition by Tim Beeby organized by Galerie Vayhinger at Haus 1, Berlin




Folds:



Fragments:



Particles:



Wall Studies:



The Painting Studio: an installation

Particles


...the white nothingness, the once more calm surface upon which float unconnected determinations like scattered limbs and members (Gilles Deleuze: Difference and Repetition)


Particles (2016) is an ongoing series of works on paper, contrasting and complementing two series on canvas, Inks and Folds. Whilst the latter are produced using extremely reduced means – elementary markings in black ink on pre-primed canvas that begin to create order from chaos (the chaos of the yet to be activated black ink in the bottle and the unstructured white void of the canvas) – and may possess a genesis of meaning, the opposing operation is apparent in the works on paper, that is cultural products in the process of losing meaning. The point of departure are fragmented objects, scraps and leftovers which have been retrieved from the studio floor and photographed against a white background before their ultimate disposal and return to chaos. In a previous, related series of works on paper, Fragments, the resulting photographs were processed digitally, being supplemented by typographical elements and symbols, that is further cultural products, torn and isolated from the context of their signifying system, and thus in turn losing their original expressive significance. Passages of text, organically wrapping themselves around the fragments were added to the mix, functioning as both linguistic and visual elements.

In the series Particles, some of these elements reappear, but are presented predominately in isolation on otherwise empty paper. Some sheets have been crumpled and partially re-flattened suggesting a hybrid state between work of art and refuse. In addition to 78 works on paper and a found magazine page, Particles also comprises a handmade cardboard box and its own portable wooden display apparatus, consisting of two wooden panels and three trestles creating a table, and two wooden slats to be attached to the wall and from which work may be hung. Since there is no intention of establishing fixed relationships between the individual components, there is also no specific system or order for hanging the work or positioning it on the table Each presentation of the work will be unique, differing both from previous and future presentations. Instead of disorder and chaos, the experimental situation nevertheless retains the potential of crystallizing a kind of new order, a fragmentary meaning, persisting for individual viewers, in which new relationships may arise.

Deutscher Text >>>Particles_Deutsch.html

Tim Beeby is a visual artist and translator for galleries and museums 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 in Germany. 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. At the end of 2017 his on going project Unsigned Untitled Undated was presented in Berlin.


As a translator he is has been recently involved in catalogue projects for a group exhibition at the Jewish Museum, Hohenems in Austria, traveling to the Jewish Museum, Munich; as well as ones for Kunsthaus Bregenz in Austria; Skulptur Projekte 2017, Münster, Germany; Hamburger Bahnhof – Museum for Contemporary Art, Berlin; and Zentrum Paul Klee, Bern / Phillips Collection, Washington DC.

The Painting Studio – Installationsansichten   >>>The_painting_Studio2.html
unsigned untitled undated  
installation views, Haus 1, Berlin
23-26 November 2017

unsigned untitled undated


The four-day event involved 25 canvases in 5 sizes, totaling 100 works, from the ongoing series Inks – which were installed in 5 stacks leant against the wall, with one example from each stack hung adjacently as well as a wall text explaining the concept. Both the hung and stacked works remained unsigned, untitled and undated. Visitors were invited to select a canvas to take away with them, free of charge.


Alternatively, visitors were able to have their canvas signed, dated and titled by the artist and acquire it at the standard market price. All signed works being acquired at market price were photographically documented and listed, with each purchaser receiving a certificate of authenticity. The unsigned works in contrast have not been photographically documented or recorded by any other means. In terms of materials used, and ‘aesthetic value’, the unsigned and signed groups of work are indistinguishable.


The event proved to be highly instructive from both an artistic point of view and the manner in which the public interfaced the work. In an austere installation, the stacks transformed the canvases into interactive sculptural elements. Initially inhibited visitors became enthusiastically active in flipping through the works to select ‘their’ unsigned canvas. Without exception, there followed a short respectful exchange between the visitor and artist, ending with a handshake and the participant departing with the canvas of their choice.


Leaving work unsigned, untitled and undated and making it available free of charge is a simple yet radical gesture, breaching the western cultural convention of signing works of art before they enter commercial or institutional systems. Even if an unsigned work’s economic or institutional value has been seriously compromised or even completely abrogated it still retains perhaps its most important value, its aesthetic one. A large quantity of unsigned canvases have now disappeared into the world to negotiate their place within a vast domain of unsigned objects, reversing Duchamp’s strategy of turning everyday objects into art objects by signing them.


The unsigned canvas nevertheless retains the aura of a work of art in that a stretched canvas has but one purpose, that of a support for art, namely painting, differentiating it from all other supports, media and materials used in the production of art or indeed any other object in the world.

Berlin – Ein Bild ist ein Bild 
Siegmund Kopitzki
Macht erst eine Signatur ein Werk zu Kunst? Die Singener Galerie Vayhinger 
und der Künstler Tim Beeby haben in Berlin ein Experiment gewagt...

Zum vollständigen Artikel >>>Ein_Bild_ist_ein_Bild.html
DIE ZEIT berichtet über Unsigned Untitled Undated 
   
Zum vollständigen Artikel >>>

See German broadsheet DIE ZEIT’s article about Unsigned Untitled Undated

Tim_Beeby_Unsigned_DIE_ZEIT.html