This new work-phase Artificiata II (2012), emphasizes the artists strong interest in visual-music and visual-poetry, manifested in digital images on paper and canvas as well as in screen based works.
This work-phase is based on the 11-d hypercube.
This new work-phase entitled "klangfarben" (2006-07) is based on the 11-d hypercube. The underlying logic of this work is similar to the rules of "serial music" in which each element of a series of elements has to appear at least once before the series can be repeated.
Subsets is a work phase based on the 11-d hyper-cube.
This workphase (1999-2000) is the first one in colour and also based on the 6-dimensional hypercube.
This work-phase (1995-97) is based on the 6-D hypercube. The shapes of the b/w drawings and grey acrylic paintings permit the viewer to experience 6-D space, which is beyond mental representation, but nonetheless calculatable.
In this work phase (1993-95), two diagonal-paths (through the 6-D hyper-cube) are chosen in the way described in "Laserglyphs".
This work phase (1991-92) is based on the 6-dimensional hyper-cube.
This work phase (1989-90) is based on the 5-dimensional Hyper-cube, a structure build from a set of eighty lines.
In this work phase (1987-89), the four-dimensional rotation of a hyper-cube becomes an additional element in generating signs and shapes.
In the second part of this work phase (1984-86), a molecular-like growth is created with the "four-cut" as its seed.
The cube is divided into four sections by a horizontal and a vertical cut. In the first part of this work phase (1980-84), the "four-cut" is the basic structure with which the "out-lines" form shapes and the "in-lines" form signs.
This work phase (1978-79) is based on the four-dimensional hyper-cube.
In this work phase (1975-77), cubes are divided into two parts by one of the Cartesian planes.
In this work phase (1972-75), an alphabet of signs is created from the twelve lines of a cube.
With this work phase (1969-72), a logical and automatic construction of pictures is introduced into Mohr’s work. For the first time algorithms (rules with a beginning and an ending) are used to calculate the images
This work phase (1966-69) introduces geometry and constructibility into Mohr’s work.
These early works (1960-1966) were not computer generated.