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Manfred Mohr:
On the "Discovery of Undreamt of Possibilities" |
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After spending a number of years from 1990 onwards investigating the six-dimensional hypercube, in his most recent works grouped under the title “Klangfarben” [Sound Colours] Manfred Mohr presents the tracery of lines that make up the eleven-dimensional hypercube through the medium of monitors. Unlike his earlier computer animations, he now uses two monitors set at ninety degrees to one another. |
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The monitor on the right shows a rotating graphic-construction, while every ten seconds the monitor on the left flashes up a single image from the moving image on the right. Fundamental to many of Manfred Mohr’s works is the use of computer algorithms to generate a graphic structure. In the case of the 11-D cube, there are over 40 billion possible diagonal paths between any two points in the cube. The lines that the viewer sees on the monitor describe the paths between these points, which travel through all eleven dimensions. The colours are randomly generated and serve to highlight the complexity of the structure. The title “Klangfarben” indicates a structural kinship to serial music, in which every element of a series must be played at least once before the series can begin anew. Mohr already began to employ computers for his systematic explorations in 1969, and over the next three decades he took the logical step and restricted himself to the two polar colours black and white. The artist does not start out from set visual ideas in his work, but allows himself rather to be surprised by the results of the algorithms he has devised. Through his visualisations of these computations, Mohr gives the viewer an intimation of multi-dimensional spaces which, however much they exist in the mind, remain beyond sensory experience.
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| Biography |
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1938
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born in Pforzheim
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1957-1961
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Studied at the Kunst- und Werkschule Pforzheim
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1962
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Began to work solely in black and white
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1965
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Attended the École des Beaux-Arts, Paris
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1969
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First drawings using a computer
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1973
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Awards at the World Print Competition ’73, San Francisco, and the 10th Biennale in Ljubljana
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1989
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Extended his work to the 5th and 6th dimension hypercubes
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1990
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Camille Gräser Prize, Zürich
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1998
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Started to use colour to show the complexity of the work
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