Tim Nerheim Chereck: Defining the Moment
Explore the meaning behind artist Tim Nerheim Chereck's newly released manifesto. Discover what Momentism, as a movement, is to you.
Tim Nerheim Chereck’s artwork begs many questions of its viewers. Some I have heard myself include “What does it mean?” “Does this represent that?” and the non-question but childish cry for help of “I don’t get it.” Whether these are the questions that all abstract and contemporary art inspires or not, they evoke the most powerful part of Chereck’s work: it is a deeply personal expression and not to be explicitly communicated. However, the viewer’s understanding of it can still form. This may be through how it makes them feel or in their logical scavenger hunt for more concrete meaning. But what allows for this distinct, thought-provoking art to be created? This is exactly what Chereck expands upon in his recently released manifesto, “In Defense of the Moment.”
After only a year and a half of painting, Chereck started developing his manifesto. He was struggling to explain the process of what he was doing when he painted. The preexisting words used to describe abstract art movements didn’t quite fit. Last month, he released the definition that he feels is appropriate. Momentism is, in essence, an aware and intentional process in which the artist channels the moment that they are in while they work. To some, his paintings may look like they were done randomly but he explained in our interview that he is always in control. Keeping with the intentionality component of Momentism, he doesn’t drip or splatter paint, he makes thoughtful markings. In his expansion on his methods he said, “I feel like I am a five year old hovering over a piece of paper with a crayon.” The comparison is perfect; imagine a child drawing and the intense focus that appears on their face. Their final product may look sporadic, but the process is rapt and attentive.
Chereck does not claim to have invented Momentism. In putting out the manifesto he intended to give those already doing the same a word to describe their process as well as provide a tutorial for those interested in joining the movement. Applying a strict definition to his painting methods and releasing that into the world was absolutely scary for Chereck. Fortunately, he has received a positive reaction. Some other established artists have reached out and expressed their excitement. A few people have told Chereck that their artistic process is similar and his manifesto helped them find a name for it.
As indistinct as Chereck’s paintings are, his manifesto is extremely concise and easy-to-digest. He elaborated during our conversation that he wanted to make it as clear as possible so that anyone could find it accessible. In this way, he opens up the opportunity for more people to be inspired by his ideas. As a student of art, he has read many writings about art pieces and movements that he finds just as confusing as the art itself. He told me this with a lot of frustration. Why should reading about something confusing confuse someone even more? His manifesto is not meant to further complicate his work but to make the process behind it understandable for all who want to follow in his path.
After the written portion of “In Defense of the Moment,” Chereck offers a few examples of Momentist works. The first one is a link to a song called “Or Better Yet, Migrating Through Zimmerman’s Complex,” composed by his son. He chose to include this as the first example in acknowledgement that his son, who is an experimental classical composer, has been practicing Momentism far before Chereck started painting. He writes compositions in real time and used to release them immediately after recording them. Doing so showcased the fearlessness involved in Momentism and deeply inspired Chereck. In fact, he often listens to his son’s music as he paints to further channel the moment.
While Chereck explained some specific details behind the moments that he was in when he painted the next examples in the manifesto, I am going to hold back from telling you what they are. He and his art are, at first glance, hard to define and an utter mystery. The paintings have deeper meanings at their core, that you may feel desperate to uncover, but doing so strips the work of its beauty. The beauty is in the abstraction through which the artist expresses these moments. After he told me the political states and life periods that the works were produced in, I asked whether he felt he could see those moments in the work, as I still struggled to. He showed me that I did not need to see them. To see definition in art is to try to read a tree’s genetic code from a drawing of its flower. The languages are different. Rather than setting you off on a mission of staring at a pink flower for five hours, straining your eyes to see DNA bases, I think it is best to simply accept the flower as it is. Chereck is done painting, this is your moment now. What do you feel?
Link to “In Defense of the Moment,” the Momentism Art Movement Manifesto.