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Peter Ludwig Wegener - Fine Artist

About Peter Ludwig Wegener

Learn more about Peter Ludwig Wegener from Bad Segeberg, Sc - Germany.








The views of a parallel universe discernible on my website are findings (erratic blocks) of a virtual reality processed by me: digital art Since you are incapable of generating these immaterial pictorial worlds without a computer the digital artist r.t.ficial is a hybrid being (cyborg) consisting of a human and a technological creator. The human part is represented by Peter Ludwig Wegener(*1949 in Luebeck, Germany), the artificial part by a computer, not a tool in a traditional manner like brush or palette but irreplaceable partner and what is more integral element of r.t.ficial as an artistic individuality. You can enter the world of fractals using the graphically represented results of equations based on complex numbers, used in an iterative way as positive feedback loops so that the output is fed back into the system as new input again and again. The results reveal new structures up to an infinitely small scale, structures that can be isolated for further processing. It`s my intention to discover and explore the universal beauty of those structures, to share it and to give its immaterial appearance a material manifestation eliciting mind behind cosmic geometry, the basic principles of creation. My pictures refer to 20th century art historical developments like Suprematism, Constructivism, De Stijle, Concrete Art, Abstraction-Création, Neoplasticism, Op Art etc. whose many different attitudes are attributable to the concept of geometric abstraction, a tendency to establish harmonious pictorial structures in a deliberately constructed way liberated from representational motifs by using simple geometric forms. The preferred visually determining motifs like square, circle, triangle, trapezoid etc. predominantly derive from the geometry of Greek mathematician Euclid (365 - 300 BC). The geometry however underlying my iconography is that of fractal geometry, a language appropriate to depict basic schemes of order in a deterministic chaos. The term 'fractal' derived from the Latin word 'fractus'('fragmented' or 'broken') was coined in 1975 by the mathematician Benoit B. Mandelbrot (The Fractal Geometry of Nature) and means any pattern that reveals greater complexity as it is enlarged, while traditional Euclidean figures (square, circle and so forth) appear simpler as they are magnified. Another property of fractal patterns is self-similarity: a component part of an object resembles the whole and the reiteration of details occurs at progressively smaller scales, so that each part of each part, when magnified, will look basically like a fixed part of the whole object, think of intricate branch systems of trees or lightnings. Fractal geometry describes many nonuniform phenomena in nature, a source determining the awesome variety of the whole creation. A voyage throughout all scales of the universe contributes to the impression of a self-similar world from the intergalactic macrocosm to the subatomic microcosm. I use the square format as a container, a room where I can visually manifest my fractal findings. This place is a merely human invention.The square with its straight lines, right angles and parallels doesn`t exist in or by nature. It can be interpreted as an allusion to man`s everlasting confrontation with nature, a symbol of stability and static perfection frequently used as harmonious outline perfectly corresponding to enclosed places like gardens, cloisters and courtyards. Thus the square becomes a living space to the representatives of fractal manifestations, a particular habitat restricting their threateningly proliferating unpredictability in the inscrutable interplay of chaos and order that causes a sense of menace in man. Nevertheless the square doesn`t represent a kind of cage, but harmonizes with the world of fractal structures as seen from the point of view of perceptual psychology. All sides and axes even though not visible tend to outgrow their actual length.This property of being able to visually transgress its own boundaries makes the square an convenient frame for the findings from a parallel world.

Peter Ludwig Wegener joined Fine Art America on November 5th, 2009.