Acrylic on canvas, wood
12 x 27 in / 30.5 x 68.6 cm
The Half Planes
work-phase (1995-97) is based on the 6-D hypercube. As indicated for the Laserglyphs
(1991), this complex structure has 32 diagonals from which 23040 “diagonal-paths” can be calculated combinatorially. A random selection of two “diagonal-paths” from this alphabet of signs provides the building blocks for each work in this work-phase. A six-dimensional “diagonal-path” is built from six consecutive connected vectors, each having a different but distinct direction. Each direction represents one of the six mathematical dimensions. All six vectors of one “diagonal-path” are matched with their corresponding vector on the other “diagonal-path”, resulting in six vector pairs. Each vector pair is oriented to form a non-intersecting planar quadrilateral, and then is completed visually with thin lines. Thus, six rectangles are created, and together with the two “diagonal-paths”, describe a contour line, resulting in the most surprising shapes.
In the grey paintings, the “diagonal-paths” are represented by thick white lines. The vector pairs which complete the quadrilaterals are represented by thin black lines. The quadrilaterals are colored in grey to create the shape of the painting.
Manfred Mohr has used a computer to generate his art since 1968, and is considered a pioneer in this field. Influenced by the writings of Max Bense and French composer Pierre Barbaud, in 1968 Mohr co-founded the seminar “Art et Informatique” at Vincennes University. In 1971, he had an exhibition at the Musée d’Art Moderne, Paris, which is considered to be the first solo show in a museum of works entirely calculated and drawn with a computer.