Work

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Essentials

Essentials tells about the formal building block Titus uses to create art works. While his formal concept is rather systematical, the actual setting of the lines follows intuition. You find more information in the individual description of each picture in this series.
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A shared vision

In 2003 it seemed that everything was going well in the western countries. We enjoyed more individual freedom than ever before, the economy was thriving, and optimism was the prevalent state of mind. I started to feel some unease, which I could not qualify exactly – a sense of disconnecting or the drifting apart of various groups and individuals in the western societies, which made me produce the painting above. The question arose: what is the glue that holds our society together? I could not find the answer. Two angels are standing above a vast city, which could be anywhere in the world. In the centre of the city, there is a large road leading to the horizon. The city represents a society while the angels symbolise a common vision which this society shares about their values and in which way they want to develop. The road stands for their way into the future. The angels share a middle wing and hold the city together like a cramp. They are dependent on each other and must agree upon which direction they want to take. If they do not, they drop out of the sky. The cramp that holds the city together thus disappears. Likewise, if a society loses a shared vision, it will break apart and what once was the road to the future will become an abyss. Events like the storming of the Capitol in Washington in 2021 illustrate what we may lose.

Dreams

Dreams are derivatives taken form random digital interference patterns. They suggest landscapes, human forms and architecture. In fact, no such things were present in the original files. Our mind tries to construct meaning when confronted with little defined sensations and incomplete information.

Youcrash

Youcrash shows a series of pictures derived from interference patterns, caused by an overlay of a vast number of videos. They display nothing of the original content anymore. We like to attract attention but also want to save moments, as is typical with YouTube. Nevertheless, most of the published videos just vanish in the great grey noise of the internet.

Fadepad

The dynamics of lines play an important role in the work created by Titus. Therefore, he developed the concept for the fadepad app. It allows you to draw in a way that is not possible in the analogue world. You draw lines which then disappear, after the time interval you predefined, at the same speed and in the same succession in which you drew them. This creates the possibility to improvise animation. Fadepad was chosen as the digital project of the month in the art magazine “Kunstbulletin”. It works offline in the internet browser. You can download it for free from the URL fadepad.com
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Palmer 2018

Palmer Sculpture Biennial/Landscape spin The Wheel of Titus
After addresses by Greg Johns, Bill Clifford and Maurice Roche, Greg invited visitors to walk to a nearby hillside to watch the launching of The Wheel of Titus. The Swiss artist Titus Eichenberger had set up a large iron disk on a ramp near the top of the hill. The intention was for the disk to be released from its ramp, accelerate down the hill and disappear into the far distance. Thus the course and final resting place of the wheel was to be determined by the countryside, and having come to rest it would become a sculpture created in collaboration with the landscape. When everyone had gathered, the wheel was released, and after a couple of false starts it rolled impressively down the hill, vaulted a dead tree, fell on its side and became a sculpture. The crowd cheered.

Gates

These gates are not built. They rather create space themselves that could not have been taken by the motion in the environment or are isolated from the surroundings by the motion. Gates are archetypes and symbols, yet in these cases, nothing is explained. There is no defined context that creates equally defined content. Titus frequently uses symbolic forms in such a way, rather interested in the immediate reaction than in the production of any statement. It is a game between forms that are historically anchored in our mind and free formal variations of them. What does this do to the way we proceed with them emotionally?