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The Prix Ars Electronica Archive is a collection enabling search and viewing of all the submissions since 1987. The award-winning projects are documented with catalogue texts and audio-visual media. All other submissions can be searched by title/artist and displayed with year, category in list form. Please cite the credits (artwork name, artist and photographer) and only use the materials if your article is related to Ars Electronica.
Intervalle
Jürgen Lit Fischer
Original: PR_1987_intervalle_002_o.jpg | 1654 * 1569px | 3.1 MB
Original: PR_1987_intervalle_003_o.jpg | 811 * 523px | 659.3 KB
Original: PR_1987_intervalle_005_o.jpg | 798 * 621px | 589.5 KB
Original: Intervalle | 4425 * 3017px | 42.9 MB
Statement
My work is based upon structure that lead to processes. The elements I use are easy to think, easy to see, but hard to make. I define:
from the straight line to the point, a line blending into an oscillation, oscillations with increasing frequence, certain numbers in undefined movement.
With the computer (Prime Tpe 9950/55-11) and a rather technically oriented programming language (FORTRAN) my ideas can be made visible, be controlled, be outwitted, questioned, pushed onwards. Now always hand in hand with the machine, but sometimes rather against and in spite of the processes found. Additions and superimpositions are often made the the photocopier (Canon NP-3025) with a special interest in certain areas of interference.
Until then, everything is made on paper (Plotter Benson type 1222) and in black-and-white til a stage of "forcing simplicity" is reached.
The way is colour, and I use the basic triad yellow, blue, red (Europe-scale) and its direct mix derivations via 1:1 ratio engraving (Aristomat 8320; Laser Plotter Scitex Response 280). With a positive or negative film I try to concretize the shaping.
Screen printing until now is the best "colour carrier" for me (Svecia, various types of machinery).
With transparent colours, transparent paste and almost unlimited colour layers I achieve the necessary depth. From the small sketch step by step to large sizes - an attempt to go to the limits of serigraphy. I am striving to find a essence which can be interpreted. If the results are dissatisfying, I have to go back tothe original basic structure and start again.
There is a cycle in my thinking, doing, perceiving, meditating. (Dusseldorf, June 1987)
My work is based upon structure that lead to processes. The elements I use are easy to think, easy to see, but hard to make. I define:
from the straight line to the point, a line blending into an oscillation, oscillations with increasing frequence, certain numbers in undefined movement.
With the computer (Prime Tpe 9950/55-11) and a rather technically oriented programming language (FORTRAN) my ideas can be made visible, be controlled, be outwitted, questioned, pushed onwards. Now always hand in hand with the machine, but sometimes rather against and in spite of the processes found. Additions and superimpositions are often made the the photocopier (Canon NP-3025) with a special interest in certain areas of interference.
Until then, everything is made on paper (Plotter Benson type 1222) and in black-and-white til a stage of "forcing simplicity" is reached.
The way is colour, and I use the basic triad yellow, blue, red (Europe-scale) and its direct mix derivations via 1:1 ratio engraving (Aristomat 8320; Laser Plotter Scitex Response 280). With a positive or negative film I try to concretize the shaping.
Screen printing until now is the best "colour carrier" for me (Svecia, various types of machinery).
With transparent colours, transparent paste and almost unlimited colour layers I achieve the necessary depth. From the small sketch step by step to large sizes - an attempt to go to the limits of serigraphy. I am striving to find a essence which can be interpreted. If the results are dissatisfying, I have to go back tothe original basic structure and start again.
There is a cycle in my thinking, doing, perceiving, meditating. (Dusseldorf, June 1987)
Jürgen Lit Fischer (D), born in 1941 in Frankfurt/Main. Lives and works in Dusseldorf. Trained as a salesman, he became an artist (auto-didact) at the age of 30 and sees himself as the heir of artists with such heterogeneous personalities as Wassily Kandinsky and Christian Morgenstern. Kandinsky's ideas of melting music, language and painting, his dream of composing "colour-sounds" on the canvas as well as Morgenstern's onomatopoeia and experiments with words are a source of inspiration to him. In the tradition of abstract art with an analytic- constructivistic approach, he started working with the computer as an artistic instrument in addition to designing and realizing "Kunst-am-Bau" (art in architecture) projects, music, light and laser productions.
Since 1976 regular exhibitions in galleries, at art fairs and installations for stage and art shows. "Counting, dividing, creating sequences, inverting, superimposing... is how Jürgen Lit Fischer defines his interest in the field of art.
Titles of the graphics entered for Prix Ars Electronica '87:
1 "Intervalle/lntervals", Dusseldorf 1985
2 "Wurf", Dusseldorf 1986
3 "Woven Waves/Wellen Waggerl”, Dusseldorf 1987
Jürgen Lit Fischer was awarded an honorary mention by the Prix Ars Electronica '87 jury for his computer graphic "Intervalle/intervals" in the computer graphics category.
Since 1976 regular exhibitions in galleries, at art fairs and installations for stage and art shows. "Counting, dividing, creating sequences, inverting, superimposing... is how Jürgen Lit Fischer defines his interest in the field of art.
Titles of the graphics entered for Prix Ars Electronica '87:
1 "Intervalle/lntervals", Dusseldorf 1985
2 "Wurf", Dusseldorf 1986
3 "Woven Waves/Wellen Waggerl”, Dusseldorf 1987
Jürgen Lit Fischer was awarded an honorary mention by the Prix Ars Electronica '87 jury for his computer graphic "Intervalle/intervals" in the computer graphics category.