Tim Berresheim is the master of mixing the analog with the digital, of merging these two realms into one mixed reality. The artist has been at the forefront of computer-generated art since the early 00s and ever since then has been pushing digital art further. Berresheim’s distinctive workflow starts with producing artworks made with CGI and DGI and realizes them in form of sculptures, 3D-, silk screen- and c-prints. In his digitally generated models of contemporary visual cultures, with all their hybrid set pieces from art and image history, he explores immanent design scopes, meanings, and possibilities for a future artistic practice.   

By using his signature artistic practice, Tim Berresheim created the artwork “Parabola Una”, which depicts a rippling surface based on algorithms of oceanic wave formations taken from research data published by the California Institute for Telecommunications and Information Technology. While Berresheim's compositions are the product of precise three-dimensional digital renderings, his abstracted linework and tangled compositions evoke the gestures of a swift hand. Through an Augmented Reality feature (iOS only), included in the artwork, the digital origin of the print edition’s motif can be experienced as a digital sculpture in space. 

In an interview with misa.art, Tim Berresheim speaks about developing his distinctive artistic practice and the vision behind his work “Parabola Una”, which drops on June 8th honoring World Ocean’s Day and supports the environmental organization Parley for the Oceans.  

You have a unique artistic style. How did you develop your visual language and how has it changed over the years? 

After I studied classical painting at the university in Düsseldorf, I switched to working with digital tools in 2000. I saw great potential for image models beyond modernism in this field: an additional place at the table of art history that hasn’t existed before.  

Your creative process starts in digital spheres before it evolves onto the physical realm. Which steps are essential in your working process?   

Actually, the beginning of a new artistic work always has its origin in the analog, in the physical world and is conceived out of the real three-dimensional space. In my work-process, the computer functions as a crucible of analog and digital creations. The interweaving of these two working methods is very important for my process. The old meets the new. This is how I realize a transformation every time.  

What opportunities arise out of this specific way of working? 

For me, these are transformation processes into something new. Coherent new image systems that are as far away as possible from classic image collages. 

Your work "Parabola Una" is released honoring World Ocean Day and supports the organization "Parley for the Oceans". The work is based on algorithms for oceanic wave formations. What is the vision behind it?   

The physical peculiarities of water are absolutely fascinating, this infinite wealth of variations... It's hardly surprising that entire research institutions are concerned with it. By including real characteristics of the ocean as a design parameter in my work, a form of accessibility is created. That is important to me here. What seems like abstract painting from afar takes on a familiar component through the recognizability of waves on water surfaces. It is a simple narrative.  

How can art help save the environment? 

 Art can sensitize. It can show us the unbeatable beauty of nature and its processes. 

Honoring World Ocean’s Day on June 8th the 24-Hour Physical Drop by German artist Tim Berresheim will support the environmental organization Parley for the Oceans and is exclusively available on misa.art.