After leaving school I had a professional education as photographer and graphic designer. At first I was an employee of Bertelsmann
Publishing House and worked some years in the publicity department of the Nobilia Factory, a furniture and kitchens producer.
Since 1976 I have been working as a freelancer
for several publicity agencies and advertising departments and shaped every kind of publicity resources, like prospects, advertisements, mailings, and product designs.
In 1996 I discovered the computer (which had been that far only a working tool) as my personal artistic medium.
Between 1996 and 2012 I extended my activities on three fields:
1. The graphic work with own photos
Digitally edited photo-collages of flowers and landscapes, frequently completed with paintings, expressing the connection between the
perceptible picture and imagination. Most of them have been awarded in Corel World Design Contests between 1996/98.
2. The work with 3D-programs
3D-illustrations and landscapes in a surrealistic manner also digitally edited and completed with paintings.
3. Experimental and abstract works
Since beginning to use the computer as a personal artistic tool in 1996 I tended more and more towards abstraction. Especially the game with geometric forms and the research into the visual and emotional
possibilities of several graphic methods are of great interest for me, e. g. to work with fractals which are always the visualized solution of a
complex mathematical problem - but viewed in isolation of mathematical questions and contents they are graphic patterns as a snapshot of the infinity.
One of the great advantages of working with the computer is to be provided with an inexhaustible, creative potential and I love to get
inspired by using some forms and filters and to find my subjects in a playful way. That means - like the surrealists and some abstractionists in
the early nineteenhundreds - I prefer to utilize Automatism for my creative processes in order to release my inner pictures.
Max Ernst, one of the leading surrealists said : "...the lack of a picture on an empty sheet can only be forced by developing a mechanism of
poetical inspiration." An impressing series of Frottages (since 1925) witnesses the characteristic interaction between technique and inspiration.
And the great expressionist Paul Klee who also preferred the techniques of Automatism said: "Art doesn't reflect the visible. ART MAKES VISIBLE."
Working in this tradition I usually generate a series of inspiring and associative organic shapes on transpararent layers and rework and
combine it to form subtle arrangements of glowing transparent areas of colours, including the light behind it.
Drawing by algorithm depends widely on coincidence. However the
generating and selecting of dynamic organic forms, their editing and colouring depends on the abilities and the imagination of the artist.
Mathematical art is - although it seems to be a contradiction in terms - a very intuitive and individual kind of work.
Text Author: Karin Kuhlmann