Tim Engelhardt
Pittsburgh, Pennsylvania
Artist Tim Engelhardt creates abstract compositions that explore the complexities of the human psyche. He uses color and structure to explore his feelings while grounding each piece in the reality of who he is in the moment of creation. “Much of my work starts from a yearning to understand existence and relationship,” says Tim. Though he has never had formal mentorship, Tim has built his path through persistence, the support of his wife, and a strong artistic community. Based in Pittsburgh, Tim paints at a 260-square-foot studio in a converted Westinghouse factory. When he’s not making art or working full-time at a bank, Tim enjoys spending time with his family, tending his yard, and watching musical theater.
Artist Statement
Each of my paintings is a deep emotional dive into exploring and discovering the mysteries of the human psyche. They tackle our relationship with all things seen and not seen, heard and not heard. Through that lens, themes are built upon responses to internal and external prompts such as nature, spirituality, psychology, and music. I do this by creating layers of varying transparencies and fields of movement designed to expose the complexities that honest introspection can reveal.
I use acrylic and house paints, ink and charcoal, and occasionally collage. I build my paintings by applying layers of paint and ink, then scraping them down, constructing and deconstructing. My process is a call and response with each layer and stroke prompting the next stage. Sometimes, that means pushing certain colors down and pulling other colors up, and very rarely do I envision what a finished piece will look like. Most of my work, if not all, is never finished but is instead a point of entry into the next painting.
I use acrylic and house paints, ink and charcoal, and occasionally collage. I build my paintings by applying layers of paint and ink, then scraping them down, constructing and deconstructing. My process is a call and response with each layer and stroke prompting the next stage. Sometimes, that means pushing certain colors down and pulling other colors up, and very rarely do I envision what a finished piece will look like. Most of my work, if not all, is never finished but is instead a point of entry into the next painting.
Artist Background
Art Institute of Pittsburgh
Associate of Arts, 2002
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