"And, yet, there was still further to go. Each work, with its own individual mathematical underpinning, was unrelated to the next. He longed for a mathematical system, which he could play like a musical instrument.
"His solution was the cube. “The cube is a structure of 12 lines, that I could play with by taking lines away or cutting them in to two or four parts.” At first, Mohr used a 3D cube, but after a time he realised the cube could be extended beyond visible space into six, eight or even 12 dimensions. From here on, things get weird, because such a “hypercube” – as Mohr calls it – can only be perceived by a computer, and only partially represented in 2D space.
"So while these paintings may look like a compelling examples of abstract expressionism, they really represent the algorithms that underlie them: pure semiotics, rational in composition and execution. Mohr had not only proved his theory, he’d successfully materialised abstraction. “Let’s say, in 1000 years, if the machine is still working and someone runs the programme,” he says, “... [it will] still be my thought from today.”"