Holger Lippmann is a generative artist working at the intersection of art and technology whose work, through processing, seems to challenge perceptible reality. Initially training as a traditional visual artist, Lippmann later moved to Berlin in the middle of the electronic music boom. These interests in the visual arts and in electronic music merged into explorations in digital and computational art. Key works from his ‘noise warp’ collection use collectives of elongated shapes to define highly organic and warped field conditions. Lippmann draws inspiration from the flowing brushstrokes of Van Gogh, even drawing from the color palettes of his various paintings. A central concept of Lippmann’s works seems to be the aggregation of a relatively simple shape or element, i.e a line or rectangle, into varying densities and arrangements where they, as a collective, articulate complex and nuanced field conditions. As an architecture student, these visualizations provoke thought and introspection as spatial possibilities can be speculated. Explorations upon the responsiveness of such systems could have aesthetic as well as practical implications.
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