In the Cubic Limit work series, Manfred Mohr introduced the cube into his work as a fixed system with which signs are generated. In the first part of this work phase (1972-76), an alphabet of signs is created from the twelve lines of a cube. In some works, statistics and rotation are used in the algorithm to generate signs. In others, combinatorial, logical and additive operators generate the global and local structures of the images.

In this particular of drawing, nine 3x3 grids, fill the picture plane. The central box of each 3x3 grid represents the summation of signs surrounding it. The handwritten letters below each sign indicates, using letters A-K, which specific twelve lines of a cube are being represented. The central box in this drawing is the summation of all eight grids surrounding it.

About Manfred Mohr

Influenced by his experience as a jazz musician and by German philosopher Max Bense’s theories on rational aesthetics, Manfred Mohr has been an innovator in the field of computer-generated art. To manipulate, for example, the myriad variations of the 11-dimension hypercube, Mohr created algorithms in FORTRAN programming language and printed them on flatbed plotters before the advent of laser printers. Mohr’s “Klangfarben” series (2008) features paintings and digital animation of brightly colored diagonal lines and intersecting planes against a flat black background.

German, b. 1938, Pforzheim, Germany

Solo Shows on Artsy

Artificiata II, Carroll / Fletcher, London
Manfred Mohr: Artificiata II, bitforms gallery, New York
Manfred Mohr: one and zero , Carroll / Fletcher, London

Group Shows on Artsy

Pencil / Line / Eraser, Carroll / Fletcher, London
Digital Art: (R)evolution, Dedee Shattuck Gallery