| Thomas Zipp develops fantasy scenarios verging on | | | | landscape. Using each element of his installation as a |
| the eccentric and theatrical. Garnering inspiration from | | | | referential prop, Zipp weaves together a narrative |
| art history, politics, philosophy, and popular culture, | | | | flirting between reality and fantasy. The painting, |
| Zipp uses unlikely combinations of sources and genres | | | | depicting a vast rugged landscape, is dwarfed by a |
| to trigger a sense of familiarity within the absurd. In a | | | | foreboding sexuality, and the framed and censored |
| composition of two canvases and a drawing, E-Licht | | | | note ends in a trail of tiny punctures. Creating a |
| is sparsely hung with museum authority. Balancing a | | | | sense of clinical detachment, Zipp’s installation is |
| large abstraction above a painting of a zeppelin, Zipp | | | | accompanied by a large chandelier. Made from |
| uses the ambient qualities of formalism to create | | | | fluorescent tubing, its design follows an illogical |
| fictional space, the utopian aspirations of modernism | | | | mathematical proportion, reinforcing the irrational |
| doubling as a set of subterranean misadventure.Most | | | | within the pursuit of lucidity.Zipp creates a parallel |
| of the nine artists come from southern Germany. | | | | world envisioning a precarious future-fiction based on |
| They come to grips with the idea of narrative art, | | | | revisionist past. Schwartze Ballons is a nine-part |
| though without any debt to it. They are interested in | | | | installation comprised of paintings, drawings, and |
| the concept of the icon, in the true sense of the | | | | sculpture. Central to the piece is a large black |
| term, that of representative painting. The images in | | | | structure. Ominous and strange, its ballooning form |
| "Painting on the Roof" embody a nomadic character | | | | connotes a malevolent technology, stealth-like in its |
| that constitutes their force with respect to other | | | | dead weight. The accompanying abstract drawings |
| experimentation with painting of this generation. The | | | | suggest scientific inventions that are equally playful |
| new often appears in the guise of the old. For this | | | | and sinister. Painted portraits complete the scene |
| reason, these figurative works possess a symbolic, | | | | with b-movie flair: dead zombie-like leaders with rivets |
| realistic, calligraphic lightness. But their foundation is | | | | for eyes add a subtext of evil, both spellbinding and |
| formed by the pursuit of archetypes and the | | | | humorous. |
| visionary gaze at the invisible that always permeated | | | | If u want to know more about Thomas Zipp |
| the painting of the 20th century, starting with | | | | paintings, biography, solo exhibitions, group exhibitions |
| Kandinsky. | | | | and resource of Thomas Zipp. |
| Thomas Zipp’s Der Schlaf IV fabricates a surreal | | | | |