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Since 2001, Hein Gravenhorst has been creating purely digital works on the computer as a continuation of generative photography. The pictures do not bear titles or series names, and the artist deliberately refrains from describing them. He himself sees them as "energy fields" that enter into a spiritual communication with the viewer. In the animation of 2022, the formerly trained trickfilm animator Hein Gravenhorst entered into an artistic cooperation with the Berlin based film cutter bndberlin.
In 1968, the artists Kilian Breier, Pierre Cordier, Hein Gravenhorst and Gottfried Jäger - initiator and namesake of the exhibition "Generative Photography" - made their first public appearance in the Bielefeld Kunsthaus. The participating artists deliberately avoided any kind of representation of non-pictorial reality in their works. Photomechanical transformations, chemistrygrams, luminograms, and pinhole structures presented a non-representational, systematic-constructive photographic imagery.
Since 2001, purely digital works have been created on the computer as a continuation of generative photography. The pictures have no titles or series designations, and the artist deliberately refrains from describing the images. He sees them as "fields of force" that enter spiritual communication with the viewer.
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Since 2001, Hein Gravenhorst has been creating purely digital works on the computer as a continuation of generative photography. The pictures do not bear titles or series names, and the artist deliberately refrains from describing them. He himself sees them as "energy fields" that enter into a spiritual communication with the viewer. In the animation of 2022, the formerly trained trickfilm animator Hein Gravenhorst entered into an artistic cooperation with the Berlin based film cutter bndberlin.
In 1968, the artists Kilian Breier, Pierre Cordier, Hein Gravenhorst and Gottfried Jäger - initiator and namesake of the exhibition "Generative Photography" - made their first public appearance in the Bielefeld Kunsthaus. The participating artists deliberately avoided any kind of representation of non-pictorial reality in their works. Photomechanical transformations, chemistrygrams, luminograms, and pinhole structures presented a non-representational, systematic-constructive photographic imagery.
Since 2001, purely digital works have been created on the computer as a continuation of generative photography. The pictures have no titles or series designations, and the artist deliberately refrains from describing the images. He sees them as "fields of force" that enter spiritual communication with the viewer.
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