Fortschritt is based on a single sketch of a close friend, that exits the room. Playing with the German word for „progress“, that can also be read as „step away“, these works on paper ask a question: go on, or turn away? The highly topical problem of unquestioned progress is in the center of the artist’s research. When is enough?
In his series Gleisi ( short for Gleisdreieck Park, a park in direct neighborhood of the artist’s home) Tim Leimbach sketches Impressions of its daily life. Without putting an emphasis on exact documentation, these larger scale works derive from impulsively thrown down paint. Stains, traces of lines become bodies that are twisting, bending and drifting apart in leisure activities.
Birds is the body of work succeeding the earlier series of foxes, which dealt with a disfigured stuffed fox, found in the studio at UdK Berlin. Having an open eye for the often overseen details on his way to the studio, the artist took inspiration from a sun dried, conserved body of a fallen chick. In the space between shock, disgust and empathy, Birds invites us to take a closer look at the beauty and ugliness of life, that manages to coexist with us in metropoles like Berlin.
The series of works Das Bild der Mutter (the image of the mother) borrows from this intense preoccupation with projection, memory, and idealization in close interpersonal relationships and examines in particular one’s own (biographical) mother-child relationship. Aspects such as nakedness, vulnerability, but also strength and even brutality are mixed into a learned role image of the mother and literally sharpen the view in order to ultimately question it critically.
Das Bild der Mutter