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German artist and photographer Hein Gravenhorst (b. 1937) was instrumental within the Generative Images motion, which emerged within the Sixties to redefine pictures by emphasizing structured picture creation over conventional illustration.
At a time when pictures was primarily representational, Gravenhorst, together with different artists akin to Gottfried Jäger and Kilian Breier, developed strategies for creating summary geometric compositions with photomechanical processes and analog strategies, serving to to ascertain the rules of generative artwork.
A defining sequence in Gravenhorst’s work, Photomechanical Transformations, used analog strategies to provide geometric patterns with a deal with inner coherence.Later in his profession, he prolonged these rules to digital artwork, producing works he described as “vitality fields” that encourage a contemplative, non-verbal engagement with the viewer. By refraining from utilizing descriptive titles or explanations, Gravenhorst emphasizes the viewer’s particular person response to the paintings over representational interpretation.
Gravenhorst’s inclusion in main collections like MoMA underscores his function in reworking pictures from a representational medium to at least one rooted in systematic, concept-driven creation, bridging the analog and digital realms of generative artwork.
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