In IT’S ART Magazine we often aim at showing you the different kind of artwork, digital art has brought from its beginning. This time we’re sure you will be amazed by Tim Borgman’s art which breaks the rules of time and beauty.

Tim originally started with traditional painting and illustration back in the end of the eighties. While studying communication design at the beginning of the nineties, he got his first computer (a 486) and a tool called pov ray. Although it took hours to render a small image and there was no modeler and no interface, he was totally blown away by the fact that you could create something like a photo out of a non-existing scene. Since this first shock, Tim has focused his artwork on light and textures and play with them in a very enhanced and creative way. But he has also invented art which captures time and imagination in a sort of microscopic world. Let’s share some time with very original artist.

Tim Borgman : During my studies I got my first freelance jobs doing 3D animations for industrial films or stills for advertising agencies using Real 3D. At the time Realsoft 3D got into the next round I became a betatester and got the opportunity to work on the package illustrations and the manual design. This was an important step for me because I had complete freedom on the illustrations and got great feedback on my work as an illustrator from all over the world. Over the years, I’ve used many different tools to meet the demands of the different projects I worked on.. Today I work mostly as a freelancer on TV commercials for advertising agencies using Softimage|XSI. Besides my professional work, I spend time on my personal non-lucrative art projects.

I.A. - Your portfolio, resume and award list are extensive and you have been featured in all 4 Exposé books! This kind of accomplishment must make you feel good. What drives you to create and experiment with CG when you wake up?

T.B. - A good question. I'm not sure, because I’ve never really thought about it. I always feel like making images. But I think it's mostly the motivation to learn, to get a step further that drives me - enhancing my skills, testing new work approaches and shading methods with the aim of expanding my visual language spectrum.
Every image or project takes you a step further, sometimes even due to mistakes you made. There are periods when the learning curve is faster than others, you may then have to step back, start again and be patient. But overall expanding your image worlds is a steadily journey.

I.A. – Your artwork makes me think of time-lapse experiments. Does your artistic research also bear on time?

T.B. - Yes, time is an important point in my work. In particular the fragment series is based on time. Most of the base shapes are originally created as particle simulations playing around with different emitters and forces. When I see something that grabs my attention I freeze the moment and begin with the image. This frozen moment is like a peak of a steady timeline. I want to give the viewer the possibility to dive into this moment by accentuating its special beauty. I hope I will find time in future to work on my other time-based ideas which include slow animations of abstract forms.