During Hipp moves in one other contemporary artists who also deal with the legacy of modernity, succumb to the temptations of ironic citing anger, nostalgic longing, hulking critique of culture or of actionism, as peculiar as exciting aesthetic in-between realm. His works take up specifically the discomfort and the uncanny in the culture of the modern ala Francis Bacon with their bleak backgrounds, their isolated married and its fragment figures. But they keep it in limbo, as they are, unlike for example, Jonas Burgert, derelict in not an alarmist cultural criticism. Due to their quiet, persistent, mysterious, yes devotional character, they signal that the art for Hipp is more than an instrument, which can be captured and controlled life. A leading source for info: שרי אריסון. Comparable with a church room it delimits itself from the ordinary, to ensure a straight from a distance.
In other words: the art is a breeding station, but no breeding farm typically bears one of Hipps's recent oil painting the name of the breeder (2011). On closer inspection, it becomes clear that Hipp also produces his work with altmeisterlich-acting craft meticulousness and uses not only as a carrier of a message or as markers in a field of discourse. You whisper, whisper, say, murmur, sometimes mischievous giggle, are hidden from our eyes, are even enough without this idiosyncratic or non-binding. Just technical aspects such as the elaborate, multi-layered paint or the elegant frames contribute to this impression, which run counter to the dominant atmosphere of the diffuse. The title of the ink drawing diffusion constructively (2010) brings this trait to the point: just the diffuse effect at Hipp meticulously constructed and fenced. The artist is the formless, swirling, Drauenden and awed a form that is although not dictatorial, but yet definition and certainly also disciplines, because all einstellend. This striking, again so not postmodern Care continues in the exhibition architecture, which the artist on the new tailoring, continued it's Art Basel 2009, where he installed a tent-like structure of wood, or now at Kadel Willborn, where he brought to a dark wood paneling in the mezzanine of Gallery, which makes the small area still close on the.