{"id":14058,"date":"2020-11-19T17:08:05","date_gmt":"2020-11-19T16:08:05","guid":{"rendered":"https:\/\/dam.org\/museum\/?post_type=artists_ui&p=14058"},"modified":"2026-09-05T15:01:41","modified_gmt":"2026-09-05T13:01:41","slug":"space-color","status":"publish","type":"artists_ui","link":"https:\/\/dam.org\/museum\/artists_ui\/artists\/mohr-manfred\/space-color\/","title":{"rendered":"space.color"},"content":{"rendered":"

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\"\"<\/a><\/figure><\/div>[\/vc_column][vc_column css_animation=”fade-up” width=”1\/3″ shift_x=”0″ shift_y=”0″ z_index=”0″][vc_custom_heading text=”space.color (1999-2003)” use_theme_fonts=”yes” css=”” font_size=”16″ text_align=”left” font_weight=”600″][vc_column_text]In this work phase, Mohr introduces color for the first time, after working for more than three decades in black and white. The use of color responded to the increasing complexity of his work, which forced him to look for a visual expression that went beyond the binary system of white and black. The colors, however, are not meant to convey a meaning in themselves, but rather used randomly to highlight the spatial ambiguity of the compositions. The algorithm is based on the 6-dimensional hypercube, which allows to draw 720 different diagonal paths, from which four are selected each time and drawn with thick lines, their vector connected with thin lines. The connecting lines form planar structures with randomly assigned colors.[\/vc_column_text][vc_column_text]More works<\/strong><\/p>\n

algorithmic modulations (2019)<\/a>
\nTransit-Code (2017-2018)<\/a>
\nArtificiata II (2012-2015)<\/a>
\nparallelResonance (2009-2011)<\/a>
\nklangfarben (2006-2007)<\/a>
\nsubsets.motion (2003-2005)<\/a>
\nsubsets (2003-2005)<\/a>
\nspace.color.motion (2002-2004)<\/a>
\nspace.color (1999-2003)
\nHalf Planes (1995-1998)<\/a>
\nCounterpoint (1993-1995)<\/a>
\nLaserglyphs (1990-1993)<\/a>
\nLine cluster (1989-1990)<\/a>
\nDimensions II (1986-1989)<\/a>
\nDivisibility II + III (1984-1986)<\/a>
\nDivisibility I (1980-1984)<\/a>
\nDimensions I (1977-1979)<\/a>
\nCubic limit II (1976-1977)<\/a>
\nCubic limit I (1973-1976)<\/a>
\nEarly algorithms (1969-1973)<\/a>
\nHard edge (1966-1969)<\/a>
\nEarly work (1960-1966)<\/a>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

[vc_row][vc_column width=”2\/3″][\/vc_column][vc_column css_animation=”fade-up” width=”1\/3″ shift_x=”0″ shift_y=”0″ z_index=”0″][vc_custom_heading text=”space.color (1999-2003)” use_theme_fonts=”yes” css=”” font_size=”16″ text_align=”left” font_weight=”600″][vc_column_text]In this work phase, Mohr introduces color for the first time, after working for more than three decades in black and white. The use of color responded to the increasing complexity of his work, which forced him to look for a visual…<\/p>\n

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