lives and works in Minneapolis
Over the past several years, I have worked with a wide range of materials, and most recently including digitally applied techniques, to create pieces that defy classification as either paintings or sculpture.
My aesthetic expresses itself in the complete resolution of the various materials I have chosen both mechanically and aesthetically.
For me, there is an immense satisfaction in the process itself. The varied artist- applied surfaces work in harmony with the varied machine-made surfaces. The tension between the materials and the combination of analogue and digital methods has resulted in work that is at peace with itself.
My current work draws from a minimalist vocabulary. Compositions of light, colour, and idea fuse together in these orchestrations of surface. There is a quiet grace in this current work, a purging of the extraneous, and a reduction to visual essence. Notice, as you move around the work, how the colour values shift from dark to light, how forms appear then dissolve. The effect is a sort of kinetic cinematic experience. These are colour field films. There is an incessant shifting in this work that is its drama. A network of surfaces refusing to be simply described or pinned down. The viewer becomes the viewed behind the surfaces of glowing colour fields. There is a certain mystery and intrigue in this body of work that I find compelling.
Timothy Schmitz creates objects of beauty and contemplation. Schmitz initiated himself into the art world as a ceramicist. The unique forms of his ceramic vessels and objects combined with highly process oriented finishes, earned the attention of LewAllen Galleries, which presented his first solo exhibition in 1995. The success of this work along with his interest in surfaces has led the artist to begin working with two-dimensional and three-dimensional works.
Highly process-oriented, he has always experimented with non-traditional methods. Schmitz suggests the myriad of materials he currently works with lend itself, technically, to a much wider field of experimentation, to create luminescent pieces defying classification as either painting or sculpture.
Schmitz’ recent work is minimalist in concept but complex in technique. His art is distinguished by its uncommon compositional harmonies and understated expressiveness. Suffused in his work is a refined sense of the Japanese aesthetic notion that beauty comes from the visually modest and humble. There is a quiet grace in his current work, a purging of the extraneous and a reduction to visual essence. The overall effect is of luminous structures with shifting and floating compositions of light, colour, and idea, which fuse together in these elegant orchestrations of surface. The luminescence and reductive elegance of his work still the mind and enable contemplative insight transcending simple intellectual conception.
Actively collected, both nationally and internationally, his work has been featured in significant museum shows, gallery exhibitions, and is in numerous corporate and private collections across the country. He continues to work prolifically in Minneapolis, MN.