1962

born in Vienna

1981

school leaving examination at a secondary grammar school for natural sciences

1981–1985

studied painting and graphics at the Higher Federal Graphic Education and Research Institute in Vienna

1985

Abschluss des Studiums mit Auszeichnung

1985–1986

worked as a sculptor in Carrara and as a graphic artist in Verona

1986

graduation of the master class in Vienna with diploma and distinction

1987

cycle of paper works with pencil and Indian ink “on travelling”

1987–1988

learning of original restoration techniques of Venetian panel paintings

1988–1989/1994

studies of Japanese brush techniques and vibration pictures

1989

garden-art projects with inclusion of large-sized calligraphies /Asia, Switzerland

1993

developing a special painting layer technique with ancient natural pigments

1994

beginning of large-sized paintings on linen with ancient colour pigments in oil/CH

1996–2007

life and work in Vienna, Austria, and in Schaffhausen, Switzerland

1997

creation of the series “Flowing Pigment Paintings as a Processual Art Form”

1998

developing of specific oil-inversions for the painting with natural pigments

1999

beginning of the work “Time-Frescoes” in Vienna, Austria

1999–2000

research work “Ancient natural pigments and their binding”

2001

creation of the series of paintings “preserved pigments” with use of old materials

2002

“Cyclos Pigment Project”, idea and start of the wind-pigment painting in the Sahara

2003

Beginn der Wind-Pigment-Malerei in der Tunesisch-Algerischen Sahara

2005

“Time. Tracks. Pigments.” Filming of the Sahara-Project” by Thomas Zeller of the ORF (Austrian Broadcasting Corporation)

2006

research work “oxidation of precious metals by using formulations of past centuries”

2007–to date ???

series of lectures on the topic of “ancient colour pigments and their processing”

1996–2018 ???

scientific development of new colour technologies / Italy, Switzerland

2009

performance of several sound pictures with ensemble members of the Viennese Symphonic Orchestra

2010

large-sized photographic works for the “Cyclos Pigment Project” in the Sahara

2011

creation of the processual series “ephemeral works” on linen and hand-made paper

2012

film projects on the topic of “process-related art” under natural influences

2013

presentation of Cryo-Paintings in the Gallery ArtZiwna in Vienna, Austria

2014

participation in international art exhibitions in Basle, New York, Paris and other cities

2015

further development of the painting technique with oil-inversions in the laboratory with new and ancient oils

2016

finalizing the “time-frescoes” after a processing procedure of sixteen years

2017

exhibition at the Biennale Venice / Palazzo Bembo with “time-frescoes”

2019

preparation of the art projects „pigments in ice“ & „Phoenix“

I compare my painting with topics and sequences in the domain of music, mostly with compositions of Bach. My paintings bend a bow, similar to the variations of Goldberg, bringing beginning and end together, reconnect again and return symbolically to the origin.

Each of my works starts with very precise considerations and is created exclusively outdoors using thin oil inversions. Partially I apply up to three hundred layers of pigment or more per painting! This is mostly done within very long periods of time and at exposed places and in areas where minus 15 to minus 20 degrees Celsius are not infrequent. The primary goal of my painting is to make the natural processes of creation visible by radically restricting them to their very own. My “processual art” in a modern diction is of high peculiarity.

Before beginning the painting process, it has to be clarified which natural influence will have an effect on the painting, also with regard to its expected intensity and duration. Once I have these parameters defined, I determine the ideal linen as well as its base coat. But mostly I use a smoothed half chalk ground, which was already preferred by the old masters, although it does not always behave optimally in the open air. Only then can I define the colour pigments. They subsequently determine the meticulously dosed composition of the individual binder substances.

It is of special importance how intensive the impact of the natural forces will be. If the duration of this process can be approximately estimated, this will have an effect on every pigment emulsion. Additionally, the temperature plays a decisive role, especially if a Cryo-Painting has to be created. In sub-zero temperatures, great attention has to be paid to the exact preparation of the colour mixtures, especially as 12 to 15 components are used. Diverse, finely refined oils like rosemary oil, orange and lemon oil, mink oil, clove oil, pine oil, argan oil, Venetian larch resin, dammar, shellac, beeswax, borax and silver chloride reveal that the preparatory work of such a painting requires an extensive chemical knowledge. The second key player is the nature itself that in the end decides in connection with some luck if a painting emerges successfully out of the painting process.

The intensive analysis with art opened the world of the ancient colour pigments for me already in my early years. From the very beginning I was captivated by the forgotten secrets of how to use them. I evolved into a “discoverer of the old world”. My world of colours and histories became more complex. The daily work with the techniques of the Old Masters helped me to discover the inner light of the ancient colour pigments and to make it visible in my paintings. This inner light was so essential for many masters of the ancient world – here specially to emphasize Master Apelles – that they additionally polished their painting surfaces in the finest manner in order to produce a brilliance in the light and colour reproduction. This light was the embodiment of the highest spiritual reality. The “Old World” of their workmanship opened up new vistas for me in which I recognized that there was so much more to discover in the “Old Art” and long-time hidden things. Even in black, blue and white I found the most diverse shades of colour where in their applications numerous histories and stories dozed. The works of Fra Angelico, Giotto di Bondone or those of Jan Vermeer, whom I appreciate very much, got another value for me. The characteristic painting of Schiele, the landscapes of Max Weiler, the powerful art of Kazuo Shiraga and the gracile moments of Takesada Matsutani showed me what art can move: the soul!

If for me the medium painting is even to a high extent also the message, I do not only mean physics and chemistry, colour, binding agent and procedure, but also a desired unity aimed in the artistic process of matter, time, space, human being and universe.

The goal of my painting is the capture of "real time" and the disclosure of the painting processes that are applied for "human" periods. For the time being I am preparing painting projects in crevasses, in the Sahara Desert as well as on an active volcano.

Art means for me that it nourishes us by captivating new worlds and letting us dream of them! It gives an understanding to us of beauty and wisdom and focusses our look. As far as I am concerned art leads me to the knowledge of our ancestors. At the same time it invites me to pursue my own way in a powerful manner.

Ty.

Der Zeit-Aspekt der Malerei Ty Waltingers kulminiert in seinen Zeit-Fresken, die der Künstler zur Biennale im Palazzo Bembo 2017 am Canale Grande ausstellte, wo er in gegenläufigen, malerischen Prozessen Vergangenheit und Gegenwart aufhob beziehungsweise ineinanderfließen ließ. Auf diese Bilder, die von 1999 bis 2016 al fresco entstanden sind, wurden über viele Jahre seltene und meist sehr alte Pigmentessenzen aufgetragen. Von 2016 bis 2017 arbeitete der Künstler sich dann mit Skalpellen und feinen Werkzeugen zurück in die Tiefe, legte Malschicht um Malschicht und damit Zeitschicht um Zeitschicht wieder frei. Sein Ziel ist die Erfassung von „Echtzeit“ über die Offenlegung der sich über lange Zeiträume erstreckenden malerischen Prozesse.

Auch bei seinen in freier Natur durch Regen oder Eiseskälte entstandenen Prozessualen Werke besteht der Künstler ausdrücklich darauf, „Zeit zu malen“, hat er doch eine diesbezüglich ihm eigene und solitäre Methode der Bildproduktion entwickelt. Gemeinsam mit dem Natureinfluss Regen kreiert er in langen Zeitfenstern die von ihm als „Hydro-Paintings“ bezeichneten Bilder. Bei Minusgraden dagegen bilden sich die Oberflächen aus pigmentierten Eiskristallen der so genannten „Cyro-Paintings“. Dafür verlegt er seine Ateliers vorübergehend in Hochgebirge, auf Gletscher und Eisfelder oder sogar in Polarregionen.
So entstanden geheimnisvoll faszinierende, kostbare Objekte und expressive „Naturbilder“ von noch nicht gesehener Art. Mit ihnen schafft der Künstler authentische Metaphern des Werdens und Vergehens.

Edelbert Köb
Kurator, ehem. Dir. Wiener Sezession, Kunsthaus Bregenz, MUMOK