WV 2025 – 70 bis 77
Folded Time
An installation by Jorinde Voigt
for the Grand Entrée of Freshfields Frankfurt
Everything here moves between heaven and earth: body and material, colour and movement, thought and form. The world in its manifold states of matter. An affirmation of the omnipresence of the living. Presence as a universal principle of time and space.
Among these elements, Jorinde Voigt has created a room-enveloping commissioned installation for the Grand Entrée of Freshfields Frankfurt. Baroque and minimalist, concave and convex. As delicate as a pebble skimming the water’s surface, with meandering loops that continue without end, spreading into small waves, like curves in the soul. And with the force of a fearless conceptual artist able to turn a high-rise entrance hall into a landscape of intellectual and sculptural grandeur. The work embodies Leibniz’s idea of an analogy between the foldings of matter and those of sensation. A foyer as an unending play of foldings and unfoldings, curves, arcs, and undulations, reflections of time, and of inner life.
Close to the Frankfurt sky, a total work of art has come into being, uniting sculpture, painting, drawing, sculptural furniture, and architecture. It accords with Voigt’s multimedia oeuvre, and, for the first time in Frankfurt, flows into a single space. The unity of the arts is itself a Baroque concept. Form is function, and function is form—unyieldingly equal. No medium is given precedence; all merge into a totality, part of a universe in which nature and humanity condition one another and are linked through communication. Every curve and fold of the works animating this space is a vibration, a sound. Indeed, Voigt’s art springs from a musical understanding of the world and unfolds as a composition conceived in the manner of a score.
In her early drawings, the Notations, she developed pictorial spaces and her own visual codes, unfolding the world through a graphic-philosophical process that revealed its underlying conditions: distance, velocity, orientation, frequency, sound, rotation, temperature, and more—and reveals their simultaneity. At her core, Jorinde Voigt is a performative drawing artist. The line is her most natural form—an urge. “There is hardly a more authentic or immediate form than the hand-drawn line.” (Jorinde Voigt) Her artistic sensibility is Leonardesque: without the Renaissance master’s detailed anatomical studies of the body, his painting would have been unthinkable. What counts here, in the Frankfurt work, as a fold is essentially a compressed line seen from above that leads into infinity. Every point along the line contains information; through the act of folding, new neighbourhoods of information arise. Curves store time. Folds are wealth, an archive of stored time and a fixing of the present. The Baroque defines the fold as a fold into infinity. It lies between body and space. It conceals the body and at the same time reveals its nakedness, the hidden, to bring the inner to the fore. As in Bernini’s Ecstasy of Saint Teresa.
“I am that which I behold.”
The “Jorinde Voigt principle”, the genesis of her artistic process, is the localisation of being through perception. This principle lies between the classical Neoplatonic concepts of the Renaissance that defined the free artist. Where the invisible idea once preceded the visible disegno, Voigt inverts the order: from artistic and physical experimentation arises disegno, leading towards idea, the concept. Voigt penetrates phenomena to make them intelligible to herself and to gain knowledge. Her engagement with material is always bound to the body and its movement. A gesture reaches only as far as the arm as her movement on the scaffold when painting the large wall work Continuum for this entrance allows. Over two years, the artist worked with a personal trainer to approach her aspiration of drawing an infinite line, without ever interrupting the movement.
The commission is preceded by close observation of the surrounding nature: the tones of the sky, the motion of clouds, the river, the region’s stones, the materials and their colour nuances. Often the vantage point is that of a person on the 29th or 30th floor of Tower 1 in the FOUR complex. Viewpoints of a city. From this wealth of aspects she draws a spectrum of colour that sets the tones of the works. They range from the soft pink of dawn to the silver of foam, from the green-blue depths of the water’s depth to the Apollonian gold of light.
Eternità
(Italian; in German: “Ewigkeit”) denotes a state or condition without end.
From her observations of wave movements, the artist derives abstracted forms for sculpture and wall painting, and also for the sculptural furniture. The sculpture was preceded by countless paper studies of soft, V-shaped wave folds, interlaced until they reached the final form of Eternità. Through this sustained work on paper, bodily movement and time are inscribed in the sculpture from the outset. The process follows the principle of infinite variation, familiar from twelve-tone music. Eternità, a monumental yet weightless form in fine metal, hovers above the reception desk. It is one of many possible variants. At the same time, it is anchored in the space of everyday life: social, environmental. It hovers like a dancer before the city as stage set, tangible and immediate, drawing the viewer into the performance.
Continuum
Facing the sculpture at the other end is Continuum, a monumental, wall-spanning work created in situ. Water folds appear as oscillations in oil pastel, with depths in pure pigment and highlights in pure gold, fusing drawing and painting and merging architecture and art into a field of folds that binds the space.
“It’s a rhythmic, performative notation upon the wall, without prior sketch. Through writing into and over one another, interferences arise. The gestures of drawing gain their dynamic from observing water and sky, and from the evolution of notation itself. In the performative notation, all origins, themes, and conditions merge into an autonomous hybrid, highly complex and, in essence, infinitely extendable.”
(Jorinde Voigt)
For the space between sculpture and wall painting, Voigt designs functional furniture—bar, counter, sofa—as usable, pleasurable sculptures. Extending her recent series of sculptures, the Dyads, two forms meet again here, now in different materials: a curved, wafer-thin slab of rose quartzite paired with the pink of Eternità, supported by the silvery mirrored folds of polished stainless steel beneath. Altars, infinitely seductive, sensual. The mirrors absorb everything in the room and return even more to it, a prism.
From above, the stone slabs recall hybrids of riverbeds, weather patterns, currents, and winds, stones of a ford smoothed by water over centuries: the very dynamics Voigt had studied beforehand. The folds spring from a curved line; drawn upward into the vertical, they become three-dimensional space.
Fibonacci – Sofa
Everything in the entrance is gathered by the elegance of the dark-blue velvet sofa, a modular architecture in itself and the embodiment of a generous gesture of hospitality. It can open out playfully to populate the hall as a whole or in parts. Tactilely irresistible, doughnut-shaped semicircles that, geometrically derived from the Fibonacci sequence, can continue without end and reform. All lines lead into the firmament, humanity in the flow of perception, artistic grandeur in motion.
Text by Juliane von Herz
Fotos by Wolfgang Stahr
2024
Chimäre 4
Jorinde Voigt
Berlin, Februar 2024
2-teilig / 2 parts
64 x 71,5 x 66,5 cm
25.2 x 28.15 x 26.18 inches
Gewicht / weight: 10,14 kg
Handbearbeitetes massives amerikanischer Nussbaum, hochglanzpolierter Edelstahl
Handcrafted solid American walnut, high polished stainless steel
Unikat / unique
Foto: Eric Tschernow
Chimäre 3
Jorinde Voigt
Berlin, Februar 2024
2-teilig / 2 parts
81,5 x 51,5 x 46,5 cm
32.09 x 20.28 x 18.31 inches
Gewicht / weight: 12,2 kg
Handbearbeitetes massives amerikanischer Nussbaum, hochglanzpolierter Edelstahl
Handcrafted solid American walnut, high polished stainless steel
Unikat / unique
WV 2024-007
Foto: Eric Tschernow
Jorinde Voigt
Berlin, Februar 2024
2-teilig / 2 parts
88 x 82 x 74 cm
34.65 x 32.28 x 29.13 inches
Gewicht / weight: 19,3 kg
Handbearbeitetes massives amerikanischer Nussbaum, hochglanzpolierter Edelstahl
Handcrafted solid American walnut, high polished stainless steel
Unikat / unique
WV 2024-006
Foto: Eric Tschernow
Chimäre 1
Jorinde Voigt
Berlin, Februar 2024
2-teilig / 2 parts
82,5 x 87,5 x 80 cm
32.48 x 34.45 x 31.5 inches
Gewicht / weight: 20,4 kg
Handbearbeitetes massives amerikanischer Nussbaum, hochglanzpolierter Edelstahl
Handcrafted solid American walnut, high polished stainless steel
Unikat / unique
WV 2024-005
Foto: Eric Tschernow
Dyade 1
Jorinde Voigt
Berlin 2023
B 30 x H 42 x T 95 cm
Erlenholz, 2teilig, Unikat, signiertes Zertifikat
alder wood, 2 parts, unique, signed certificate
WV 2023-004
Dyade 1
Jorinde Voigt
Berlin 2023
B 30 x H 42 x T 95 cm
Erlenholz, 2teilig, Unikat, signiertes Zertifikat
alder wood, 2 parts, unique, signed certificate
WV 2023-004
Triade 4
Jorinde Voigt
Berlin 2023
H 41 x B 88 x T 47 cm
Erlenholz, 3teilig, Unikat, signiertes Zertifikat
alder wood, 3 parts, unique, signed certificate
WV 2023-005
Triade 5
Jorinde Voigt
Berlin 2023
H 20 x B 50 x T 40 cm
Erlenholz, 3teilig, Unikat, signiertes Zertifikat
alder wood, 3 parts, unique, signed certificate
WV 2023-006
Tetrade 1
Jorinde Voigt
Berlin 2023
H 20 x B 48 x T 48 cm
Erlenholz, 4teilig, Unikat, signiertes Zertifikat
alder wood, 4 parts, unique, signed certificate
WV 2023-007
Tetrade 2
Jorinde Voigt
Berlin 2023
H 30 x B 56 x T 53 cm
Erlenholz, 4teilig, Unikat, signiertes Zertifikat
alder wood, 4 parts, unique, signed certificate
WV 2023-008
Triade 6
Jorinde Voigt
Berlin 2023
H 24 x B 95 x T 78 cm
Erlenholz, 3teilig, Unikat, signiertes Zertifikat
alder wood, 3 parts, unique, signed certificate
WV 2023-009
Triade 7
Jorinde Voigt
Berlin 2023
H 37 x B 68 x T 42 cm
Erlenholz, 3teilig, Unikat, signiertes Zertifikat
alder wood, 3 parts, unique, signed certificate
WV 2023-010
Triade 8
Jorinde Voigt
Berlin 2023
H 38 x B 58 x T 56 cm
Erlenholz, 3teilig, Unikat, signiertes Zertifikat
alder wood, 3 parts, unique, signed certificate
WV 2023-011
Tetrade 3
Jorinde Voigt
Berlin 2023
H 13 x B 31 x T 23 cm
Holz Nussbaum, 4teilig, Unikat, signiertes Zertifikat
wood walnut, 4 parts, unique, signed certificate
WV 2023-012
Dyade 12
Jorinde Voigt
Berlin 2022
B 69 x H 41,5 x T 73,5 cm
vergoldeter Edelstahl, Unikat, signiertes Zertifikat
gold plated stainless steel, unique, signed certificate
WV 2022-091
Dyade 12, Jorinde Voigt, 2022
Dyade 12, Jorinde Voigt, 2022
Dyade 12, Jorinde Voigt, 2022
Dyade 11
Jorinde Voigt
Berlin 2022
B 60 x H 39 x T 51 cm
vergoldeter Edelstahl, Unikat, signiertes Zertifikat
gold plated stainless steel, unique, signed certificate
WV 2022-090
Dyade 11, Jorinde Voigt, 2022
Dyade 11, Jorinde Voigt, 2022
Dyade 11, Jorinde Voigt, 2022
Dyade 11, Jorinde Voigt, 2022
Dyade Family
10-teilige Holzskulptur, variabel kombinierbar
Jorinde Voigt
Berlin 2023
Größe ca B 30 x H 40 x T 70 cm
Erlenholz massiv und geleimt, Unikat
solid and glued alder, unique
WV 2022-102 bis 105
Ohne Titel, Jorinde Voigt, 2023
Ohne Titel, Jorinde Voigt, 2023
Ohne Titel, Jorinde Voigt, 2023
Ohne Titel, Jorinde Voigt, 2023
Ohne Titel, Jorinde Voigt, 2023
Ohne Titel, Jorinde Voigt, 2023
Ohne Titel, Jorinde Voigt, 2023
Ohne Titel, Jorinde Voigt, 2023
Ohne Titel, Jorinde Voigt, 2023
Ohne Titel, Jorinde Voigt, 2023
Ohne Titel, Jorinde Voigt, 2023
Ohne Titel, Jorinde Voigt, 2023
Dyade 14
Jorinde Voigt
Berlin 2022
B 137,5 x H 82,5 x T 147 cm
vergoldeter Edelstahl, Unikat, signiertes Zertifikat
gold plated stainless steel, unique, signed certificate
WV 2022-093
Dyade 14, Jorinde Voigt, 2022
Dyade 14, Jorinde Voigt, 2022
Dyade 14, Jorinde Voigt, 2022
Dyade 14, Jorinde Voigt, 2022
Dyade 13
Jorinde Voigt
Berlin 2022
B 120 x H 77,5 x T 102,5 cm
vergoldeter Edelstahl, Unikat, signiertes Zertifikat
gold plated stainless steel, unique, signed certificate
WV 2022-092
Dyade 13, Jorinde Voigt, 2022
Dyade 13, Jorinde Voigt, 2022
Dyade 13, Jorinde Voigt, 2022
Dyade 13, Jorinde Voigt, 2022
Dyade 10
Jorinde Voigt
Berlin 2022
B 49 x H 47,5 x T 45,5 cm
vergoldeter Edelstahl, Unikat, signiertes Zertifikat
gold plated stainless steel, unique, signed certificate
WV 2022-089
Dyade 10, Jorinde Voigt, 2022
Dyade 10, Jorinde Voigt, 2022
Dyade 10, Jorinde Voigt, 2022
Dyade 10, Jorinde Voigt, 2022
Dyade 09
Jorinde Voigt
Berlin 2022
B 37,5 x H 51 x T 49 cm
vergoldeter Edelstahl, Unikat, signiertes Zertifikat
gold plated stainless steel, unique, signed certificate
WV 2022-088
Dyade 09, Jorinde Voigt, 2022
Dyade 09, Jorinde Voigt, 2022
Dyade 09, Jorinde Voigt, 2022
Dyade 09, Jorinde Voigt, 2022
Dyade 07
Jorinde Voigt
Berlin 2022
B 25 x H 23,5 x T 21,5 cm
Kupfer Massiv, signiertes Zertifikat
solid copper, signed certificate
WV 2022-086
Dyade 07, Jorinde Voigt, 2022
Dyade 07, Jorinde Voigt, 2022
Dyade 07, Jorinde Voigt, 2022
Dyade 07, Jorinde Voigt, 2022
Dyade 08
Jorinde Voigt
Berlin 2022
B 38,5 x H 23,5 x T 21,5 cm
Kupfer Massiv, signiertes Zertifikat
solid copper, signed certificate
WV 2022-087
Dyade 08, Jorinde Voigt, 2022
Dyade 08, Jorinde Voigt, 2022
Dyade 08, Jorinde Voigt, 2022
Dyade 08, Jorinde Voigt, 2022
Dyade 02
Jorinde Voigt
Berlin 2022
B 44,5 x H 43 x T 42 cm
Cortenstahl, Unikat, signiertes Zertifikat
corten steel, unique, signed certificate
Jorinde Voigt
Berlin 2022
B 164 x H 111,5 x T 116 cm
Cortenstahl, Unikat, signiertes Zertifikat
corten steel, unique, signed certificate
WV 2022-084
Dyade 04
Jorinde Voigt
Berlin 2022
B 113 x H 125,5 x T 131,5 cm
Cortenstahl, Unikat, signiertes Zertifikat
corten steel, unique, signed certificate
Dyade 03
Jorinde Voigt
Berlin 2022
B 113 x H 96,5 x T 101 cm
Cortenstahl, Unikat, signiertes Zertifikat
corten steel, unique, signed certificate
Dyade 01
Jorinde Voigt
Berlin 2022
B 53 x H 82 x T 47 cm
Cortenstahl, Unikat, signiertes Zertifikat
corten steel, unique, signed certificate
Botanic Code
Text by Jorinde Voigt 2009 / 2010
The characteristic features of a botanical garden are a combination of international vegetation, the reproduction of the whole world on a small scale, categorisation / scientific terms and establishment of definitions, research and the preservation of species.1 For the concept BOTANIC CODE, I take a walk through the local botanical gardens of every city to which I come as a result of my professional and private travels over a period of 12 months (November 2009 to October 2010). To date, I have produced BOTANIC CODES on the gardens of the cities Sydney, Berlin, Göttingen, Mexico City, Frankfurt am Main, Cologne and Bonn; the next to follow will be Rome, New York and Paris. In this work, the performative element of drawing is transferred to the movement of walking, the path on which I pass through the gardens. This is subject to my spontaneous decision. The walk is undertaken under the premise that my own perceptions with respect to colours are investigated. Proportional areas of colour, generated according to an algorithm developed for the purpose2 , are transferred onto aluminium rods 3 metres long. The outcome of such a visit to a botanical garden is a group of painted aluminium rods; an algorithmically developed “code” that takes as its theme my walk and perceptions along the parameters of colour, proportion, performance, season of the year, norm, and infinity – and creates a new matrix for perception.
RULE TO DEFINE THE COLOUR AREAS / ALGORITHM BOTANIC CODE 1.) Ø of the rod corresponds to the filigree quality of the plant 2.) Definition of colours 1st colour 2nd colour 3rd colour 4th colour 5th colour according to conspicuousness. 3.) Proportions of colour surface of the rod: C = _ · d = _ · 2 r Ø = diameter d = diameter _ = 3,1416 r = radius = 1/2 · diameter The length of the 1st colour corresponds to the height of the plant in cm. The width = the full circumference. The 1st colour is painted to cover the entire rod to this length. The length of the 2nd colour is calculated by dividing the length of the first colour by the number of colours altogether. The resulting value can be applied in different proportions (as long as the surface area remains proportional), so that the 1st colour is not completely covered by the 2nd colour. The length of the 3rd colour results from dividing the length of the 2nd colour by the number of colours in total. The same principle as for the 2nd colour is valid with respect to the coverage of the surface area. And so on… 4.) Arrangement of the colours (I) 1st colour: measured from the top edge of the rod, covering the full circumference of the rod. 2nd colour: 1 cm down from the top edge, positioning free 3rd colour: 2 cm down from the top edge of the 2nd colour, positioned to the right of the righthand edge of paint in 2nd colour 4th colour: 3 cm down from the top edge of 3rd colour, positioned to the right of the right-hand edge of the 3rd colour 5th colour: 4 cm down from the top edge of 4th colour, positioned to the right of the righthand edge of the 4th colour 5.) Arrangement of the colours (II) As a result of the division and staggering of the areas of colour in stages 2 – 5, areas of colour eventually cut off at the bottom of the rod are added next to the appropriate colour in question.
Along the algorithm developed in this way4 , one plant after another is selected for its striking coloration and documented per photo. 5 and an example of colour from the plant (e.g. a leaf that contains the typical colours) is collected. 4 “Rule to determine the colour areas / Algorithm BOTANIC CODE 5 BOTANIC CODE “Alter Botanischer Garten” of the University of G_ttingen, Germany; Jorinde Voigt, G_ttingen/Puerto Escondido, December 2009 / 12_ Magnolia grandiflora (Magnoliaceae, Magnolia grandiflora, _stliches N-Amerika Jorinde Voigt I CONCEPT BOTANIC CODE I 2009/2010 5 The botanical features of each plant are documented (name, Latin name, family, country of origin). For each plant, I decide which colour is most noticeable as the plant’s 1st typical colour, which colour as the 2nd, which colour as the 3rd and so on. This sequence contains 1 to 7 colours. In the studio, the diameter of the aluminium rod is chosen on the basis of the plant’s “filigree quality”. The areas of colour are arranged subsequently on this rod according to the algorithm6 . Every colour is attributed a Pantone colour value corresponding to the shade as found. On the basis of my collected “colour examples” – leaf, blossom etc. – these colours are checked so as to avoid colour deviations resulting from the photographs.
The information about the botanical characteristics is written at the bottom of the rod, and the rod is signed.
The finished work is the outcome of a cross-point within a matrix comprising the following parameters: travel, walk/performance (time), season of the year (time), perception, reduction of perception to colours in relation to the height of a plant (dimensions in space), norm (vertical – 3 metre aluminium rod), infinity (horizontal – circular area), repetition (repeated use of the algorithm), reduction (e.g. ignorance with respect to the plant’s specific form, and everything else that is not listed above but plays a part in the composition of reality.) Seasons of the year/ perception The same plant has very different appearances over the course of the seasons. If a plant is covered in snow in winter (white) or parts of a plant die during the winter months (brown-black-grey), this appearance is also incorporated into the registration of colours and is regarded as corresponding to the plant. Within a green environment, it will be a non-green colour that is noticeable first in the case of a green plant. In winter, in surroundings dominated by faded colours, the first colour noticed is green.
The length of the walk corresponds to the number of plants observed and therefore to the number of rods. This may turn out to be very different. Usually, between 10 and 30 plants are registered in the context of the algorithm; this corresponds to the same number of rods.
The adjoining colour proportions in the finished work correspond to the details of my perception. Overall, therefore, it is possible to see a colour spectrum that corresponds to the walk 1:1 in accordance with the algorithm. As a result of this hierarchical sorting work, my Visual Memory is extracted from the memory in the brain and not set side by side in a hierarchical fashion. And so the result is something like folding out the presence of close observation in the simultaneity of several focused moments, whereby each individual moment is set alongside the next. Normally, that is not possible for the human brain; we are always tied to the linear structure of one-after-another. The installation essays this folding out / multiplication of concentration by repeating the same application. The result is then visible in its entirety, although intellectually it is not possible to grasp the detailed algorithm all at once. We can grasp individual aspects, but not everything simultaneously. Arrangement in space/ installation The sequence of the individual rods (1 to x) from left to right should be retained; it corresponds to the order of the plants observed on the path through the botanical gardens. The rods are leant against the wall, very close together, so that the group appears as an overall area of colour. This mundane presentation represents the simplest way how to view the “result”. However, other forms of installation are equally possible. The work could be laid out on the floor, hung from the ceiling, etc. The space that the work refers to is the space of the matrix described. The installation of this parameter-constellation in concrete material and social space is simultaneously an examination/investigation of this confrontation between the constructed matrix and its concrete surroundings. Materials: aluminium, industrial paint, ink.
Botanic Code
Text by Jorinde Voigt 2009 / 2010
The characteristic features of a botanical garden are a combination of international vegetation, the reproduction of the whole world on a small scale, categorisation / scientific terms and establishment of definitions, research and the preservation of species.1 For the concept BOTANIC CODE, I take a walk through the local botanical gardens of every city to which I come as a result of my professional and private travels over a period of 12 months (November 2009 to October 2010). To date, I have produced BOTANIC CODES on the gardens of the cities Sydney, Berlin, Göttingen, Mexico City, Frankfurt am Main, Cologne and Bonn; the next to follow will be Rome, New York and Paris. In this work, the performative element of drawing is transferred to the movement of walking, the path on which I pass through the gardens. This is subject to my spontaneous decision. The walk is undertaken under the premise that my own perceptions with respect to colours are investigated. Proportional areas of colour, generated according to an algorithm developed for the purpose2 , are transferred onto aluminium rods 3 metres long. The outcome of such a visit to a botanical garden is a group of painted aluminium rods; an algorithmically developed “code” that takes as its theme my walk and perceptions along the parameters of colour, proportion, performance, season of the year, norm, and infinity – and creates a new matrix for perception.
RULE TO DEFINE THE COLOUR AREAS / ALGORITHM BOTANIC CODE 1.) Ø of the rod corresponds to the filigree quality of the plant 2.) Definition of colours 1st colour 2nd colour 3rd colour 4th colour 5th colour according to conspicuousness. 3.) Proportions of colour surface of the rod: C = _ · d = _ · 2 r Ø = diameter d = diameter _ = 3,1416 r = radius = 1/2 · diameter The length of the 1st colour corresponds to the height of the plant in cm. The width = the full circumference. The 1st colour is painted to cover the entire rod to this length. The length of the 2nd colour is calculated by dividing the length of the first colour by the number of colours altogether. The resulting value can be applied in different proportions (as long as the surface area remains proportional), so that the 1st colour is not completely covered by the 2nd colour. The length of the 3rd colour results from dividing the length of the 2nd colour by the number of colours in total. The same principle as for the 2nd colour is valid with respect to the coverage of the surface area. And so on… 4.) Arrangement of the colours (I) 1st colour: measured from the top edge of the rod, covering the full circumference of the rod. 2nd colour: 1 cm down from the top edge, positioning free 3rd colour: 2 cm down from the top edge of the 2nd colour, positioned to the right of the righthand edge of paint in 2nd colour 4th colour: 3 cm down from the top edge of 3rd colour, positioned to the right of the right-hand edge of the 3rd colour 5th colour: 4 cm down from the top edge of 4th colour, positioned to the right of the righthand edge of the 4th colour 5.) Arrangement of the colours (II) As a result of the division and staggering of the areas of colour in stages 2 – 5, areas of colour eventually cut off at the bottom of the rod are added next to the appropriate colour in question.
Along the algorithm developed in this way4 , one plant after another is selected for its striking coloration and documented per photo. 5 and an example of colour from the plant (e.g. a leaf that contains the typical colours) is collected. 4 “Rule to determine the colour areas / Algorithm BOTANIC CODE 5 BOTANIC CODE “Alter Botanischer Garten” of the University of G_ttingen, Germany; Jorinde Voigt, G_ttingen/Puerto Escondido, December 2009 / 12_ Magnolia grandiflora (Magnoliaceae, Magnolia grandiflora, _stliches N-Amerika Jorinde Voigt I CONCEPT BOTANIC CODE I 2009/2010 5 The botanical features of each plant are documented (name, Latin name, family, country of origin). For each plant, I decide which colour is most noticeable as the plant’s 1st typical colour, which colour as the 2nd, which colour as the 3rd and so on. This sequence contains 1 to 7 colours. In the studio, the diameter of the aluminium rod is chosen on the basis of the plant’s “filigree quality”. The areas of colour are arranged subsequently on this rod according to the algorithm6 . Every colour is attributed a Pantone colour value corresponding to the shade as found. On the basis of my collected “colour examples” – leaf, blossom etc. – these colours are checked so as to avoid colour deviations resulting from the photographs.
The information about the botanical characteristics is written at the bottom of the rod, and the rod is signed.
The finished work is the outcome of a cross-point within a matrix comprising the following parameters: travel, walk/performance (time), season of the year (time), perception, reduction of perception to colours in relation to the height of a plant (dimensions in space), norm (vertical – 3 metre aluminium rod), infinity (horizontal – circular area), repetition (repeated use of the algorithm), reduction (e.g. ignorance with respect to the plant’s specific form, and everything else that is not listed above but plays a part in the composition of reality.) Seasons of the year/ perception The same plant has very different appearances over the course of the seasons. If a plant is covered in snow in winter (white) or parts of a plant die during the winter months (brown-black-grey), this appearance is also incorporated into the registration of colours and is regarded as corresponding to the plant. Within a green environment, it will be a non-green colour that is noticeable first in the case of a green plant. In winter, in surroundings dominated by faded colours, the first colour noticed is green.
The length of the walk corresponds to the number of plants observed and therefore to the number of rods. This may turn out to be very different. Usually, between 10 and 30 plants are registered in the context of the algorithm; this corresponds to the same number of rods.
The adjoining colour proportions in the finished work correspond to the details of my perception. Overall, therefore, it is possible to see a colour spectrum that corresponds to the walk 1:1 in accordance with the algorithm. As a result of this hierarchical sorting work, my Visual Memory is extracted from the memory in the brain and not set side by side in a hierarchical fashion. And so the result is something like folding out the presence of close observation in the simultaneity of several focused moments, whereby each individual moment is set alongside the next. Normally, that is not possible for the human brain; we are always tied to the linear structure of one-after-another. The installation essays this folding out / multiplication of concentration by repeating the same application. The result is then visible in its entirety, although intellectually it is not possible to grasp the detailed algorithm all at once. We can grasp individual aspects, but not everything simultaneously. Arrangement in space/ installation The sequence of the individual rods (1 to x) from left to right should be retained; it corresponds to the order of the plants observed on the path through the botanical gardens. The rods are leant against the wall, very close together, so that the group appears as an overall area of colour. This mundane presentation represents the simplest way how to view the “result”. However, other forms of installation are equally possible. The work could be laid out on the floor, hung from the ceiling, etc. The space that the work refers to is the space of the matrix described. The installation of this parameter-constellation in concrete material and social space is simultaneously an examination/investigation of this confrontation between the constructed matrix and its concrete surroundings. Materials: aluminium, industrial paint, ink.
Botanic Code
Text by Jorinde Voigt 2009 / 2010
The characteristic features of a botanical garden are a combination of international vegetation, the reproduction of the whole world on a small scale, categorisation / scientific terms and establishment of definitions, research and the preservation of species.1 For the concept BOTANIC CODE, I take a walk through the local botanical gardens of every city to which I come as a result of my professional and private travels over a period of 12 months (November 2009 to October 2010). To date, I have produced BOTANIC CODES on the gardens of the cities Sydney, Berlin, Göttingen, Mexico City, Frankfurt am Main, Cologne and Bonn; the next to follow will be Rome, New York and Paris. In this work, the performative element of drawing is transferred to the movement of walking, the path on which I pass through the gardens. This is subject to my spontaneous decision. The walk is undertaken under the premise that my own perceptions with respect to colours are investigated. Proportional areas of colour, generated according to an algorithm developed for the purpose2 , are transferred onto aluminium rods 3 metres long. The outcome of such a visit to a botanical garden is a group of painted aluminium rods; an algorithmically developed “code” that takes as its theme my walk and perceptions along the parameters of colour, proportion, performance, season of the year, norm, and infinity – and creates a new matrix for perception.
RULE TO DEFINE THE COLOUR AREAS / ALGORITHM BOTANIC CODE 1.) Ø of the rod corresponds to the filigree quality of the plant 2.) Definition of colours 1st colour 2nd colour 3rd colour 4th colour 5th colour according to conspicuousness. 3.) Proportions of colour surface of the rod: C = _ · d = _ · 2 r Ø = diameter d = diameter _ = 3,1416 r = radius = 1/2 · diameter The length of the 1st colour corresponds to the height of the plant in cm. The width = the full circumference. The 1st colour is painted to cover the entire rod to this length. The length of the 2nd colour is calculated by dividing the length of the first colour by the number of colours altogether. The resulting value can be applied in different proportions (as long as the surface area remains proportional), so that the 1st colour is not completely covered by the 2nd colour. The length of the 3rd colour results from dividing the length of the 2nd colour by the number of colours in total. The same principle as for the 2nd colour is valid with respect to the coverage of the surface area. And so on… 4.) Arrangement of the colours (I) 1st colour: measured from the top edge of the rod, covering the full circumference of the rod. 2nd colour: 1 cm down from the top edge, positioning free 3rd colour: 2 cm down from the top edge of the 2nd colour, positioned to the right of the righthand edge of paint in 2nd colour 4th colour: 3 cm down from the top edge of 3rd colour, positioned to the right of the right-hand edge of the 3rd colour 5th colour: 4 cm down from the top edge of 4th colour, positioned to the right of the righthand edge of the 4th colour 5.) Arrangement of the colours (II) As a result of the division and staggering of the areas of colour in stages 2 – 5, areas of colour eventually cut off at the bottom of the rod are added next to the appropriate colour in question.
Along the algorithm developed in this way4 , one plant after another is selected for its striking coloration and documented per photo. 5 and an example of colour from the plant (e.g. a leaf that contains the typical colours) is collected. 4 “Rule to determine the colour areas / Algorithm BOTANIC CODE 5 BOTANIC CODE “Alter Botanischer Garten” of the University of G_ttingen, Germany; Jorinde Voigt, G_ttingen/Puerto Escondido, December 2009 / 12_ Magnolia grandiflora (Magnoliaceae, Magnolia grandiflora, _stliches N-Amerika Jorinde Voigt I CONCEPT BOTANIC CODE I 2009/2010 5 The botanical features of each plant are documented (name, Latin name, family, country of origin). For each plant, I decide which colour is most noticeable as the plant’s 1st typical colour, which colour as the 2nd, which colour as the 3rd and so on. This sequence contains 1 to 7 colours. In the studio, the diameter of the aluminium rod is chosen on the basis of the plant’s “filigree quality”. The areas of colour are arranged subsequently on this rod according to the algorithm6 . Every colour is attributed a Pantone colour value corresponding to the shade as found. On the basis of my collected “colour examples” – leaf, blossom etc. – these colours are checked so as to avoid colour deviations resulting from the photographs.
The information about the botanical characteristics is written at the bottom of the rod, and the rod is signed.
The finished work is the outcome of a cross-point within a matrix comprising the following parameters: travel, walk/performance (time), season of the year (time), perception, reduction of perception to colours in relation to the height of a plant (dimensions in space), norm (vertical – 3 metre aluminium rod), infinity (horizontal – circular area), repetition (repeated use of the algorithm), reduction (e.g. ignorance with respect to the plant’s specific form, and everything else that is not listed above but plays a part in the composition of reality.) Seasons of the year/ perception The same plant has very different appearances over the course of the seasons. If a plant is covered in snow in winter (white) or parts of a plant die during the winter months (brown-black-grey), this appearance is also incorporated into the registration of colours and is regarded as corresponding to the plant. Within a green environment, it will be a non-green colour that is noticeable first in the case of a green plant. In winter, in surroundings dominated by faded colours, the first colour noticed is green.
The length of the walk corresponds to the number of plants observed and therefore to the number of rods. This may turn out to be very different. Usually, between 10 and 30 plants are registered in the context of the algorithm; this corresponds to the same number of rods.
The adjoining colour proportions in the finished work correspond to the details of my perception. Overall, therefore, it is possible to see a colour spectrum that corresponds to the walk 1:1 in accordance with the algorithm. As a result of this hierarchical sorting work, my Visual Memory is extracted from the memory in the brain and not set side by side in a hierarchical fashion. And so the result is something like folding out the presence of close observation in the simultaneity of several focused moments, whereby each individual moment is set alongside the next. Normally, that is not possible for the human brain; we are always tied to the linear structure of one-after-another. The installation essays this folding out / multiplication of concentration by repeating the same application. The result is then visible in its entirety, although intellectually it is not possible to grasp the detailed algorithm all at once. We can grasp individual aspects, but not everything simultaneously. Arrangement in space/ installation The sequence of the individual rods (1 to x) from left to right should be retained; it corresponds to the order of the plants observed on the path through the botanical gardens. The rods are leant against the wall, very close together, so that the group appears as an overall area of colour. This mundane presentation represents the simplest way how to view the “result”. However, other forms of installation are equally possible. The work could be laid out on the floor, hung from the ceiling, etc. The space that the work refers to is the space of the matrix described. The installation of this parameter-constellation in concrete material and social space is simultaneously an examination/investigation of this confrontation between the constructed matrix and its concrete surroundings. Materials: aluminium, industrial paint, ink.
Botanic Code
Text by Jorinde Voigt 2009 / 2010
The characteristic features of a botanical garden are a combination of international vegetation, the reproduction of the whole world on a small scale, categorisation / scientific terms and establishment of definitions, research and the preservation of species.1 For the concept BOTANIC CODE, I take a walk through the local botanical gardens of every city to which I come as a result of my professional and private travels over a period of 12 months (November 2009 to October 2010). To date, I have produced BOTANIC CODES on the gardens of the cities Sydney, Berlin, Göttingen, Mexico City, Frankfurt am Main, Cologne and Bonn; the next to follow will be Rome, New York and Paris. In this work, the performative element of drawing is transferred to the movement of walking, the path on which I pass through the gardens. This is subject to my spontaneous decision. The walk is undertaken under the premise that my own perceptions with respect to colours are investigated. Proportional areas of colour, generated according to an algorithm developed for the purpose2 , are transferred onto aluminium rods 3 metres long. The outcome of such a visit to a botanical garden is a group of painted aluminium rods; an algorithmically developed “code” that takes as its theme my walk and perceptions along the parameters of colour, proportion, performance, season of the year, norm, and infinity – and creates a new matrix for perception.
RULE TO DEFINE THE COLOUR AREAS / ALGORITHM BOTANIC CODE 1.) Ø of the rod corresponds to the filigree quality of the plant 2.) Definition of colours 1st colour 2nd colour 3rd colour 4th colour 5th colour according to conspicuousness. 3.) Proportions of colour surface of the rod: C = _ · d = _ · 2 r Ø = diameter d = diameter _ = 3,1416 r = radius = 1/2 · diameter The length of the 1st colour corresponds to the height of the plant in cm. The width = the full circumference. The 1st colour is painted to cover the entire rod to this length. The length of the 2nd colour is calculated by dividing the length of the first colour by the number of colours altogether. The resulting value can be applied in different proportions (as long as the surface area remains proportional), so that the 1st colour is not completely covered by the 2nd colour. The length of the 3rd colour results from dividing the length of the 2nd colour by the number of colours in total. The same principle as for the 2nd colour is valid with respect to the coverage of the surface area. And so on… 4.) Arrangement of the colours (I) 1st colour: measured from the top edge of the rod, covering the full circumference of the rod. 2nd colour: 1 cm down from the top edge, positioning free 3rd colour: 2 cm down from the top edge of the 2nd colour, positioned to the right of the righthand edge of paint in 2nd colour 4th colour: 3 cm down from the top edge of 3rd colour, positioned to the right of the right-hand edge of the 3rd colour 5th colour: 4 cm down from the top edge of 4th colour, positioned to the right of the righthand edge of the 4th colour 5.) Arrangement of the colours (II) As a result of the division and staggering of the areas of colour in stages 2 – 5, areas of colour eventually cut off at the bottom of the rod are added next to the appropriate colour in question.
Along the algorithm developed in this way4 , one plant after another is selected for its striking coloration and documented per photo. 5 and an example of colour from the plant (e.g. a leaf that contains the typical colours) is collected. 4 “Rule to determine the colour areas / Algorithm BOTANIC CODE 5 BOTANIC CODE “Alter Botanischer Garten” of the University of G_ttingen, Germany; Jorinde Voigt, G_ttingen/Puerto Escondido, December 2009 / 12_ Magnolia grandiflora (Magnoliaceae, Magnolia grandiflora, _stliches N-Amerika Jorinde Voigt I CONCEPT BOTANIC CODE I 2009/2010 5 The botanical features of each plant are documented (name, Latin name, family, country of origin). For each plant, I decide which colour is most noticeable as the plant’s 1st typical colour, which colour as the 2nd, which colour as the 3rd and so on. This sequence contains 1 to 7 colours. In the studio, the diameter of the aluminium rod is chosen on the basis of the plant’s “filigree quality”. The areas of colour are arranged subsequently on this rod according to the algorithm6 . Every colour is attributed a Pantone colour value corresponding to the shade as found. On the basis of my collected “colour examples” – leaf, blossom etc. – these colours are checked so as to avoid colour deviations resulting from the photographs.
The information about the botanical characteristics is written at the bottom of the rod, and the rod is signed.
The finished work is the outcome of a cross-point within a matrix comprising the following parameters: travel, walk/performance (time), season of the year (time), perception, reduction of perception to colours in relation to the height of a plant (dimensions in space), norm (vertical – 3 metre aluminium rod), infinity (horizontal – circular area), repetition (repeated use of the algorithm), reduction (e.g. ignorance with respect to the plant’s specific form, and everything else that is not listed above but plays a part in the composition of reality.) Seasons of the year/ perception The same plant has very different appearances over the course of the seasons. If a plant is covered in snow in winter (white) or parts of a plant die during the winter months (brown-black-grey), this appearance is also incorporated into the registration of colours and is regarded as corresponding to the plant. Within a green environment, it will be a non-green colour that is noticeable first in the case of a green plant. In winter, in surroundings dominated by faded colours, the first colour noticed is green.
The length of the walk corresponds to the number of plants observed and therefore to the number of rods. This may turn out to be very different. Usually, between 10 and 30 plants are registered in the context of the algorithm; this corresponds to the same number of rods.
The adjoining colour proportions in the finished work correspond to the details of my perception. Overall, therefore, it is possible to see a colour spectrum that corresponds to the walk 1:1 in accordance with the algorithm. As a result of this hierarchical sorting work, my Visual Memory is extracted from the memory in the brain and not set side by side in a hierarchical fashion. And so the result is something like folding out the presence of close observation in the simultaneity of several focused moments, whereby each individual moment is set alongside the next. Normally, that is not possible for the human brain; we are always tied to the linear structure of one-after-another. The installation essays this folding out / multiplication of concentration by repeating the same application. The result is then visible in its entirety, although intellectually it is not possible to grasp the detailed algorithm all at once. We can grasp individual aspects, but not everything simultaneously. Arrangement in space/ installation The sequence of the individual rods (1 to x) from left to right should be retained; it corresponds to the order of the plants observed on the path through the botanical gardens. The rods are leant against the wall, very close together, so that the group appears as an overall area of colour. This mundane presentation represents the simplest way how to view the “result”. However, other forms of installation are equally possible. The work could be laid out on the floor, hung from the ceiling, etc. The space that the work refers to is the space of the matrix described. The installation of this parameter-constellation in concrete material and social space is simultaneously an examination/investigation of this confrontation between the constructed matrix and its concrete surroundings. Materials: aluminium, industrial paint, ink.
Botanic Code
Text by Jorinde Voigt 2009 / 2010
The characteristic features of a botanical garden are a combination of international vegetation, the reproduction of the whole world on a small scale, categorisation / scientific terms and establishment of definitions, research and the preservation of species.1 For the concept BOTANIC CODE, I take a walk through the local botanical gardens of every city to which I come as a result of my professional and private travels over a period of 12 months (November 2009 to October 2010). To date, I have produced BOTANIC CODES on the gardens of the cities Sydney, Berlin, Göttingen, Mexico City, Frankfurt am Main, Cologne and Bonn; the next to follow will be Rome, New York and Paris. In this work, the performative element of drawing is transferred to the movement of walking, the path on which I pass through the gardens. This is subject to my spontaneous decision. The walk is undertaken under the premise that my own perceptions with respect to colours are investigated. Proportional areas of colour, generated according to an algorithm developed for the purpose2 , are transferred onto aluminium rods 3 metres long. The outcome of such a visit to a botanical garden is a group of painted aluminium rods; an algorithmically developed “code” that takes as its theme my walk and perceptions along the parameters of colour, proportion, performance, season of the year, norm, and infinity – and creates a new matrix for perception.
RULE TO DEFINE THE COLOUR AREAS / ALGORITHM BOTANIC CODE 1.) Ø of the rod corresponds to the filigree quality of the plant 2.) Definition of colours 1st colour 2nd colour 3rd colour 4th colour 5th colour according to conspicuousness. 3.) Proportions of colour surface of the rod: C = _ · d = _ · 2 r Ø = diameter d = diameter _ = 3,1416 r = radius = 1/2 · diameter The length of the 1st colour corresponds to the height of the plant in cm. The width = the full circumference. The 1st colour is painted to cover the entire rod to this length. The length of the 2nd colour is calculated by dividing the length of the first colour by the number of colours altogether. The resulting value can be applied in different proportions (as long as the surface area remains proportional), so that the 1st colour is not completely covered by the 2nd colour. The length of the 3rd colour results from dividing the length of the 2nd colour by the number of colours in total. The same principle as for the 2nd colour is valid with respect to the coverage of the surface area. And so on… 4.) Arrangement of the colours (I) 1st colour: measured from the top edge of the rod, covering the full circumference of the rod. 2nd colour: 1 cm down from the top edge, positioning free 3rd colour: 2 cm down from the top edge of the 2nd colour, positioned to the right of the righthand edge of paint in 2nd colour 4th colour: 3 cm down from the top edge of 3rd colour, positioned to the right of the right-hand edge of the 3rd colour 5th colour: 4 cm down from the top edge of 4th colour, positioned to the right of the righthand edge of the 4th colour 5.) Arrangement of the colours (II) As a result of the division and staggering of the areas of colour in stages 2 – 5, areas of colour eventually cut off at the bottom of the rod are added next to the appropriate colour in question.
Along the algorithm developed in this way4 , one plant after another is selected for its striking coloration and documented per photo. 5 and an example of colour from the plant (e.g. a leaf that contains the typical colours) is collected. 4 “Rule to determine the colour areas / Algorithm BOTANIC CODE 5 BOTANIC CODE “Alter Botanischer Garten” of the University of G_ttingen, Germany; Jorinde Voigt, G_ttingen/Puerto Escondido, December 2009 / 12_ Magnolia grandiflora (Magnoliaceae, Magnolia grandiflora, _stliches N-Amerika Jorinde Voigt I CONCEPT BOTANIC CODE I 2009/2010 5 The botanical features of each plant are documented (name, Latin name, family, country of origin). For each plant, I decide which colour is most noticeable as the plant’s 1st typical colour, which colour as the 2nd, which colour as the 3rd and so on. This sequence contains 1 to 7 colours. In the studio, the diameter of the aluminium rod is chosen on the basis of the plant’s “filigree quality”. The areas of colour are arranged subsequently on this rod according to the algorithm6 . Every colour is attributed a Pantone colour value corresponding to the shade as found. On the basis of my collected “colour examples” – leaf, blossom etc. – these colours are checked so as to avoid colour deviations resulting from the photographs.
The information about the botanical characteristics is written at the bottom of the rod, and the rod is signed.
The finished work is the outcome of a cross-point within a matrix comprising the following parameters: travel, walk/performance (time), season of the year (time), perception, reduction of perception to colours in relation to the height of a plant (dimensions in space), norm (vertical – 3 metre aluminium rod), infinity (horizontal – circular area), repetition (repeated use of the algorithm), reduction (e.g. ignorance with respect to the plant’s specific form, and everything else that is not listed above but plays a part in the composition of reality.) Seasons of the year/ perception The same plant has very different appearances over the course of the seasons. If a plant is covered in snow in winter (white) or parts of a plant die during the winter months (brown-black-grey), this appearance is also incorporated into the registration of colours and is regarded as corresponding to the plant. Within a green environment, it will be a non-green colour that is noticeable first in the case of a green plant. In winter, in surroundings dominated by faded colours, the first colour noticed is green.
The length of the walk corresponds to the number of plants observed and therefore to the number of rods. This may turn out to be very different. Usually, between 10 and 30 plants are registered in the context of the algorithm; this corresponds to the same number of rods.
The adjoining colour proportions in the finished work correspond to the details of my perception. Overall, therefore, it is possible to see a colour spectrum that corresponds to the walk 1:1 in accordance with the algorithm. As a result of this hierarchical sorting work, my Visual Memory is extracted from the memory in the brain and not set side by side in a hierarchical fashion. And so the result is something like folding out the presence of close observation in the simultaneity of several focused moments, whereby each individual moment is set alongside the next. Normally, that is not possible for the human brain; we are always tied to the linear structure of one-after-another. The installation essays this folding out / multiplication of concentration by repeating the same application. The result is then visible in its entirety, although intellectually it is not possible to grasp the detailed algorithm all at once. We can grasp individual aspects, but not everything simultaneously. Arrangement in space/ installation The sequence of the individual rods (1 to x) from left to right should be retained; it corresponds to the order of the plants observed on the path through the botanical gardens. The rods are leant against the wall, very close together, so that the group appears as an overall area of colour. This mundane presentation represents the simplest way how to view the “result”. However, other forms of installation are equally possible. The work could be laid out on the floor, hung from the ceiling, etc. The space that the work refers to is the space of the matrix described. The installation of this parameter-constellation in concrete material and social space is simultaneously an examination/investigation of this confrontation between the constructed matrix and its concrete surroundings. Materials: aluminium, industrial paint, ink.
Botanic Code
Text by Jorinde Voigt 2009 / 2010
The characteristic features of a botanical garden are a combination of international vegetation, the reproduction of the whole world on a small scale, categorisation / scientific terms and establishment of definitions, research and the preservation of species.1 For the concept BOTANIC CODE, I take a walk through the local botanical gardens of every city to which I come as a result of my professional and private travels over a period of 12 months (November 2009 to October 2010). To date, I have produced BOTANIC CODES on the gardens of the cities Sydney, Berlin, Göttingen, Mexico City, Frankfurt am Main, Cologne and Bonn; the next to follow will be Rome, New York and Paris. In this work, the performative element of drawing is transferred to the movement of walking, the path on which I pass through the gardens. This is subject to my spontaneous decision. The walk is undertaken under the premise that my own perceptions with respect to colours are investigated. Proportional areas of colour, generated according to an algorithm developed for the purpose2 , are transferred onto aluminium rods 3 metres long. The outcome of such a visit to a botanical garden is a group of painted aluminium rods; an algorithmically developed “code” that takes as its theme my walk and perceptions along the parameters of colour, proportion, performance, season of the year, norm, and infinity – and creates a new matrix for perception.
RULE TO DEFINE THE COLOUR AREAS / ALGORITHM BOTANIC CODE 1.) Ø of the rod corresponds to the filigree quality of the plant 2.) Definition of colours 1st colour 2nd colour 3rd colour 4th colour 5th colour according to conspicuousness. 3.) Proportions of colour surface of the rod: C = _ · d = _ · 2 r Ø = diameter d = diameter _ = 3,1416 r = radius = 1/2 · diameter The length of the 1st colour corresponds to the height of the plant in cm. The width = the full circumference. The 1st colour is painted to cover the entire rod to this length. The length of the 2nd colour is calculated by dividing the length of the first colour by the number of colours altogether. The resulting value can be applied in different proportions (as long as the surface area remains proportional), so that the 1st colour is not completely covered by the 2nd colour. The length of the 3rd colour results from dividing the length of the 2nd colour by the number of colours in total. The same principle as for the 2nd colour is valid with respect to the coverage of the surface area. And so on… 4.) Arrangement of the colours (I) 1st colour: measured from the top edge of the rod, covering the full circumference of the rod. 2nd colour: 1 cm down from the top edge, positioning free 3rd colour: 2 cm down from the top edge of the 2nd colour, positioned to the right of the righthand edge of paint in 2nd colour 4th colour: 3 cm down from the top edge of 3rd colour, positioned to the right of the right-hand edge of the 3rd colour 5th colour: 4 cm down from the top edge of 4th colour, positioned to the right of the righthand edge of the 4th colour 5.) Arrangement of the colours (II) As a result of the division and staggering of the areas of colour in stages 2 – 5, areas of colour eventually cut off at the bottom of the rod are added next to the appropriate colour in question.
Along the algorithm developed in this way4 , one plant after another is selected for its striking coloration and documented per photo. 5 and an example of colour from the plant (e.g. a leaf that contains the typical colours) is collected. 4 “Rule to determine the colour areas / Algorithm BOTANIC CODE 5 BOTANIC CODE “Alter Botanischer Garten” of the University of G_ttingen, Germany; Jorinde Voigt, G_ttingen/Puerto Escondido, December 2009 / 12_ Magnolia grandiflora (Magnoliaceae, Magnolia grandiflora, _stliches N-Amerika Jorinde Voigt I CONCEPT BOTANIC CODE I 2009/2010 5 The botanical features of each plant are documented (name, Latin name, family, country of origin). For each plant, I decide which colour is most noticeable as the plant’s 1st typical colour, which colour as the 2nd, which colour as the 3rd and so on. This sequence contains 1 to 7 colours. In the studio, the diameter of the aluminium rod is chosen on the basis of the plant’s “filigree quality”. The areas of colour are arranged subsequently on this rod according to the algorithm6 . Every colour is attributed a Pantone colour value corresponding to the shade as found. On the basis of my collected “colour examples” – leaf, blossom etc. – these colours are checked so as to avoid colour deviations resulting from the photographs.
The information about the botanical characteristics is written at the bottom of the rod, and the rod is signed.
The finished work is the outcome of a cross-point within a matrix comprising the following parameters: travel, walk/performance (time), season of the year (time), perception, reduction of perception to colours in relation to the height of a plant (dimensions in space), norm (vertical – 3 metre aluminium rod), infinity (horizontal – circular area), repetition (repeated use of the algorithm), reduction (e.g. ignorance with respect to the plant’s specific form, and everything else that is not listed above but plays a part in the composition of reality.) Seasons of the year/ perception The same plant has very different appearances over the course of the seasons. If a plant is covered in snow in winter (white) or parts of a plant die during the winter months (brown-black-grey), this appearance is also incorporated into the registration of colours and is regarded as corresponding to the plant. Within a green environment, it will be a non-green colour that is noticeable first in the case of a green plant. In winter, in surroundings dominated by faded colours, the first colour noticed is green.
The length of the walk corresponds to the number of plants observed and therefore to the number of rods. This may turn out to be very different. Usually, between 10 and 30 plants are registered in the context of the algorithm; this corresponds to the same number of rods.
The adjoining colour proportions in the finished work correspond to the details of my perception. Overall, therefore, it is possible to see a colour spectrum that corresponds to the walk 1:1 in accordance with the algorithm. As a result of this hierarchical sorting work, my Visual Memory is extracted from the memory in the brain and not set side by side in a hierarchical fashion. And so the result is something like folding out the presence of close observation in the simultaneity of several focused moments, whereby each individual moment is set alongside the next. Normally, that is not possible for the human brain; we are always tied to the linear structure of one-after-another. The installation essays this folding out / multiplication of concentration by repeating the same application. The result is then visible in its entirety, although intellectually it is not possible to grasp the detailed algorithm all at once. We can grasp individual aspects, but not everything simultaneously. Arrangement in space/ installation The sequence of the individual rods (1 to x) from left to right should be retained; it corresponds to the order of the plants observed on the path through the botanical gardens. The rods are leant against the wall, very close together, so that the group appears as an overall area of colour. This mundane presentation represents the simplest way how to view the “result”. However, other forms of installation are equally possible. The work could be laid out on the floor, hung from the ceiling, etc. The space that the work refers to is the space of the matrix described. The installation of this parameter-constellation in concrete material and social space is simultaneously an examination/investigation of this confrontation between the constructed matrix and its concrete surroundings. Materials: aluminium, industrial paint, ink.
Botanic Code
Text by Jorinde Voigt 2009 / 2010
The characteristic features of a botanical garden are a combination of international vegetation, the reproduction of the whole world on a small scale, categorisation / scientific terms and establishment of definitions, research and the preservation of species.1 For the concept BOTANIC CODE, I take a walk through the local botanical gardens of every city to which I come as a result of my professional and private travels over a period of 12 months (November 2009 to October 2010). To date, I have produced BOTANIC CODES on the gardens of the cities Sydney, Berlin, Göttingen, Mexico City, Frankfurt am Main, Cologne and Bonn; the next to follow will be Rome, New York and Paris. In this work, the performative element of drawing is transferred to the movement of walking, the path on which I pass through the gardens. This is subject to my spontaneous decision. The walk is undertaken under the premise that my own perceptions with respect to colours are investigated. Proportional areas of colour, generated according to an algorithm developed for the purpose2 , are transferred onto aluminium rods 3 metres long. The outcome of such a visit to a botanical garden is a group of painted aluminium rods; an algorithmically developed “code” that takes as its theme my walk and perceptions along the parameters of colour, proportion, performance, season of the year, norm, and infinity – and creates a new matrix for perception.
RULE TO DEFINE THE COLOUR AREAS / ALGORITHM BOTANIC CODE 1.) Ø of the rod corresponds to the filigree quality of the plant 2.) Definition of colours 1st colour 2nd colour 3rd colour 4th colour 5th colour according to conspicuousness. 3.) Proportions of colour surface of the rod: C = _ · d = _ · 2 r Ø = diameter d = diameter _ = 3,1416 r = radius = 1/2 · diameter The length of the 1st colour corresponds to the height of the plant in cm. The width = the full circumference. The 1st colour is painted to cover the entire rod to this length. The length of the 2nd colour is calculated by dividing the length of the first colour by the number of colours altogether. The resulting value can be applied in different proportions (as long as the surface area remains proportional), so that the 1st colour is not completely covered by the 2nd colour. The length of the 3rd colour results from dividing the length of the 2nd colour by the number of colours in total. The same principle as for the 2nd colour is valid with respect to the coverage of the surface area. And so on… 4.) Arrangement of the colours (I) 1st colour: measured from the top edge of the rod, covering the full circumference of the rod. 2nd colour: 1 cm down from the top edge, positioning free 3rd colour: 2 cm down from the top edge of the 2nd colour, positioned to the right of the righthand edge of paint in 2nd colour 4th colour: 3 cm down from the top edge of 3rd colour, positioned to the right of the right-hand edge of the 3rd colour 5th colour: 4 cm down from the top edge of 4th colour, positioned to the right of the righthand edge of the 4th colour 5.) Arrangement of the colours (II) As a result of the division and staggering of the areas of colour in stages 2 – 5, areas of colour eventually cut off at the bottom of the rod are added next to the appropriate colour in question.
Along the algorithm developed in this way4 , one plant after another is selected for its striking coloration and documented per photo. 5 and an example of colour from the plant (e.g. a leaf that contains the typical colours) is collected. 4 “Rule to determine the colour areas / Algorithm BOTANIC CODE 5 BOTANIC CODE “Alter Botanischer Garten” of the University of G_ttingen, Germany; Jorinde Voigt, G_ttingen/Puerto Escondido, December 2009 / 12_ Magnolia grandiflora (Magnoliaceae, Magnolia grandiflora, _stliches N-Amerika Jorinde Voigt I CONCEPT BOTANIC CODE I 2009/2010 5 The botanical features of each plant are documented (name, Latin name, family, country of origin). For each plant, I decide which colour is most noticeable as the plant’s 1st typical colour, which colour as the 2nd, which colour as the 3rd and so on. This sequence contains 1 to 7 colours. In the studio, the diameter of the aluminium rod is chosen on the basis of the plant’s “filigree quality”. The areas of colour are arranged subsequently on this rod according to the algorithm6 . Every colour is attributed a Pantone colour value corresponding to the shade as found. On the basis of my collected “colour examples” – leaf, blossom etc. – these colours are checked so as to avoid colour deviations resulting from the photographs.
The information about the botanical characteristics is written at the bottom of the rod, and the rod is signed.
The finished work is the outcome of a cross-point within a matrix comprising the following parameters: travel, walk/performance (time), season of the year (time), perception, reduction of perception to colours in relation to the height of a plant (dimensions in space), norm (vertical – 3 metre aluminium rod), infinity (horizontal – circular area), repetition (repeated use of the algorithm), reduction (e.g. ignorance with respect to the plant’s specific form, and everything else that is not listed above but plays a part in the composition of reality.) Seasons of the year/ perception The same plant has very different appearances over the course of the seasons. If a plant is covered in snow in winter (white) or parts of a plant die during the winter months (brown-black-grey), this appearance is also incorporated into the registration of colours and is regarded as corresponding to the plant. Within a green environment, it will be a non-green colour that is noticeable first in the case of a green plant. In winter, in surroundings dominated by faded colours, the first colour noticed is green.
The length of the walk corresponds to the number of plants observed and therefore to the number of rods. This may turn out to be very different. Usually, between 10 and 30 plants are registered in the context of the algorithm; this corresponds to the same number of rods.
The adjoining colour proportions in the finished work correspond to the details of my perception. Overall, therefore, it is possible to see a colour spectrum that corresponds to the walk 1:1 in accordance with the algorithm. As a result of this hierarchical sorting work, my Visual Memory is extracted from the memory in the brain and not set side by side in a hierarchical fashion. And so the result is something like folding out the presence of close observation in the simultaneity of several focused moments, whereby each individual moment is set alongside the next. Normally, that is not possible for the human brain; we are always tied to the linear structure of one-after-another. The installation essays this folding out / multiplication of concentration by repeating the same application. The result is then visible in its entirety, although intellectually it is not possible to grasp the detailed algorithm all at once. We can grasp individual aspects, but not everything simultaneously. Arrangement in space/ installation The sequence of the individual rods (1 to x) from left to right should be retained; it corresponds to the order of the plants observed on the path through the botanical gardens. The rods are leant against the wall, very close together, so that the group appears as an overall area of colour. This mundane presentation represents the simplest way how to view the “result”. However, other forms of installation are equally possible. The work could be laid out on the floor, hung from the ceiling, etc. The space that the work refers to is the space of the matrix described. The installation of this parameter-constellation in concrete material and social space is simultaneously an examination/investigation of this confrontation between the constructed matrix and its concrete surroundings. Materials: aluminium, industrial paint, ink.
Botanic Code
Text by Jorinde Voigt 2009 / 2010
The characteristic features of a botanical garden are a combination of international vegetation, the reproduction of the whole world on a small scale, categorisation / scientific terms and establishment of definitions, research and the preservation of species.1 For the concept BOTANIC CODE, I take a walk through the local botanical gardens of every city to which I come as a result of my professional and private travels over a period of 12 months (November 2009 to October 2010). To date, I have produced BOTANIC CODES on the gardens of the cities Sydney, Berlin, Göttingen, Mexico City, Frankfurt am Main, Cologne and Bonn; the next to follow will be Rome, New York and Paris. In this work, the performative element of drawing is transferred to the movement of walking, the path on which I pass through the gardens. This is subject to my spontaneous decision. The walk is undertaken under the premise that my own perceptions with respect to colours are investigated. Proportional areas of colour, generated according to an algorithm developed for the purpose2 , are transferred onto aluminium rods 3 metres long. The outcome of such a visit to a botanical garden is a group of painted aluminium rods; an algorithmically developed “code” that takes as its theme my walk and perceptions along the parameters of colour, proportion, performance, season of the year, norm, and infinity – and creates a new matrix for perception.
RULE TO DEFINE THE COLOUR AREAS / ALGORITHM BOTANIC CODE 1.) Ø of the rod corresponds to the filigree quality of the plant 2.) Definition of colours 1st colour 2nd colour 3rd colour 4th colour 5th colour according to conspicuousness. 3.) Proportions of colour surface of the rod: C = _ · d = _ · 2 r Ø = diameter d = diameter _ = 3,1416 r = radius = 1/2 · diameter The length of the 1st colour corresponds to the height of the plant in cm. The width = the full circumference. The 1st colour is painted to cover the entire rod to this length. The length of the 2nd colour is calculated by dividing the length of the first colour by the number of colours altogether. The resulting value can be applied in different proportions (as long as the surface area remains proportional), so that the 1st colour is not completely covered by the 2nd colour. The length of the 3rd colour results from dividing the length of the 2nd colour by the number of colours in total. The same principle as for the 2nd colour is valid with respect to the coverage of the surface area. And so on… 4.) Arrangement of the colours (I) 1st colour: measured from the top edge of the rod, covering the full circumference of the rod. 2nd colour: 1 cm down from the top edge, positioning free 3rd colour: 2 cm down from the top edge of the 2nd colour, positioned to the right of the righthand edge of paint in 2nd colour 4th colour: 3 cm down from the top edge of 3rd colour, positioned to the right of the right-hand edge of the 3rd colour 5th colour: 4 cm down from the top edge of 4th colour, positioned to the right of the righthand edge of the 4th colour 5.) Arrangement of the colours (II) As a result of the division and staggering of the areas of colour in stages 2 – 5, areas of colour eventually cut off at the bottom of the rod are added next to the appropriate colour in question.
Along the algorithm developed in this way4 , one plant after another is selected for its striking coloration and documented per photo. 5 and an example of colour from the plant (e.g. a leaf that contains the typical colours) is collected. 4 “Rule to determine the colour areas / Algorithm BOTANIC CODE 5 BOTANIC CODE “Alter Botanischer Garten” of the University of G_ttingen, Germany; Jorinde Voigt, G_ttingen/Puerto Escondido, December 2009 / 12_ Magnolia grandiflora (Magnoliaceae, Magnolia grandiflora, _stliches N-Amerika Jorinde Voigt I CONCEPT BOTANIC CODE I 2009/2010 5 The botanical features of each plant are documented (name, Latin name, family, country of origin). For each plant, I decide which colour is most noticeable as the plant’s 1st typical colour, which colour as the 2nd, which colour as the 3rd and so on. This sequence contains 1 to 7 colours. In the studio, the diameter of the aluminium rod is chosen on the basis of the plant’s “filigree quality”. The areas of colour are arranged subsequently on this rod according to the algorithm6 . Every colour is attributed a Pantone colour value corresponding to the shade as found. On the basis of my collected “colour examples” – leaf, blossom etc. – these colours are checked so as to avoid colour deviations resulting from the photographs.
The information about the botanical characteristics is written at the bottom of the rod, and the rod is signed.
The finished work is the outcome of a cross-point within a matrix comprising the following parameters: travel, walk/performance (time), season of the year (time), perception, reduction of perception to colours in relation to the height of a plant (dimensions in space), norm (vertical – 3 metre aluminium rod), infinity (horizontal – circular area), repetition (repeated use of the algorithm), reduction (e.g. ignorance with respect to the plant’s specific form, and everything else that is not listed above but plays a part in the composition of reality.) Seasons of the year/ perception The same plant has very different appearances over the course of the seasons. If a plant is covered in snow in winter (white) or parts of a plant die during the winter months (brown-black-grey), this appearance is also incorporated into the registration of colours and is regarded as corresponding to the plant. Within a green environment, it will be a non-green colour that is noticeable first in the case of a green plant. In winter, in surroundings dominated by faded colours, the first colour noticed is green.
The length of the walk corresponds to the number of plants observed and therefore to the number of rods. This may turn out to be very different. Usually, between 10 and 30 plants are registered in the context of the algorithm; this corresponds to the same number of rods.
The adjoining colour proportions in the finished work correspond to the details of my perception. Overall, therefore, it is possible to see a colour spectrum that corresponds to the walk 1:1 in accordance with the algorithm. As a result of this hierarchical sorting work, my Visual Memory is extracted from the memory in the brain and not set side by side in a hierarchical fashion. And so the result is something like folding out the presence of close observation in the simultaneity of several focused moments, whereby each individual moment is set alongside the next. Normally, that is not possible for the human brain; we are always tied to the linear structure of one-after-another. The installation essays this folding out / multiplication of concentration by repeating the same application. The result is then visible in its entirety, although intellectually it is not possible to grasp the detailed algorithm all at once. We can grasp individual aspects, but not everything simultaneously. Arrangement in space/ installation The sequence of the individual rods (1 to x) from left to right should be retained; it corresponds to the order of the plants observed on the path through the botanical gardens. The rods are leant against the wall, very close together, so that the group appears as an overall area of colour. This mundane presentation represents the simplest way how to view the “result”. However, other forms of installation are equally possible. The work could be laid out on the floor, hung from the ceiling, etc. The space that the work refers to is the space of the matrix described. The installation of this parameter-constellation in concrete material and social space is simultaneously an examination/investigation of this confrontation between the constructed matrix and its concrete surroundings. Materials: aluminium, industrial paint, ink.
Botanic Code
Text by Jorinde Voigt 2009 / 2010
The characteristic features of a botanical garden are a combination of international vegetation, the reproduction of the whole world on a small scale, categorisation / scientific terms and establishment of definitions, research and the preservation of species.1 For the concept BOTANIC CODE, I take a walk through the local botanical gardens of every city to which I come as a result of my professional and private travels over a period of 12 months (November 2009 to October 2010). To date, I have produced BOTANIC CODES on the gardens of the cities Sydney, Berlin, Göttingen, Mexico City, Frankfurt am Main, Cologne and Bonn; the next to follow will be Rome, New York and Paris. In this work, the performative element of drawing is transferred to the movement of walking, the path on which I pass through the gardens. This is subject to my spontaneous decision. The walk is undertaken under the premise that my own perceptions with respect to colours are investigated. Proportional areas of colour, generated according to an algorithm developed for the purpose2 , are transferred onto aluminium rods 3 metres long. The outcome of such a visit to a botanical garden is a group of painted aluminium rods; an algorithmically developed “code” that takes as its theme my walk and perceptions along the parameters of colour, proportion, performance, season of the year, norm, and infinity – and creates a new matrix for perception.
RULE TO DEFINE THE COLOUR AREAS / ALGORITHM BOTANIC CODE 1.) Ø of the rod corresponds to the filigree quality of the plant 2.) Definition of colours 1st colour 2nd colour 3rd colour 4th colour 5th colour according to conspicuousness. 3.) Proportions of colour surface of the rod: C = _ · d = _ · 2 r Ø = diameter d = diameter _ = 3,1416 r = radius = 1/2 · diameter The length of the 1st colour corresponds to the height of the plant in cm. The width = the full circumference. The 1st colour is painted to cover the entire rod to this length. The length of the 2nd colour is calculated by dividing the length of the first colour by the number of colours altogether. The resulting value can be applied in different proportions (as long as the surface area remains proportional), so that the 1st colour is not completely covered by the 2nd colour. The length of the 3rd colour results from dividing the length of the 2nd colour by the number of colours in total. The same principle as for the 2nd colour is valid with respect to the coverage of the surface area. And so on… 4.) Arrangement of the colours (I) 1st colour: measured from the top edge of the rod, covering the full circumference of the rod. 2nd colour: 1 cm down from the top edge, positioning free 3rd colour: 2 cm down from the top edge of the 2nd colour, positioned to the right of the righthand edge of paint in 2nd colour 4th colour: 3 cm down from the top edge of 3rd colour, positioned to the right of the right-hand edge of the 3rd colour 5th colour: 4 cm down from the top edge of 4th colour, positioned to the right of the righthand edge of the 4th colour 5.) Arrangement of the colours (II) As a result of the division and staggering of the areas of colour in stages 2 – 5, areas of colour eventually cut off at the bottom of the rod are added next to the appropriate colour in question.
Along the algorithm developed in this way4 , one plant after another is selected for its striking coloration and documented per photo. 5 and an example of colour from the plant (e.g. a leaf that contains the typical colours) is collected. 4 “Rule to determine the colour areas / Algorithm BOTANIC CODE 5 BOTANIC CODE “Alter Botanischer Garten” of the University of G_ttingen, Germany; Jorinde Voigt, G_ttingen/Puerto Escondido, December 2009 / 12_ Magnolia grandiflora (Magnoliaceae, Magnolia grandiflora, _stliches N-Amerika Jorinde Voigt I CONCEPT BOTANIC CODE I 2009/2010 5 The botanical features of each plant are documented (name, Latin name, family, country of origin). For each plant, I decide which colour is most noticeable as the plant’s 1st typical colour, which colour as the 2nd, which colour as the 3rd and so on. This sequence contains 1 to 7 colours. In the studio, the diameter of the aluminium rod is chosen on the basis of the plant’s “filigree quality”. The areas of colour are arranged subsequently on this rod according to the algorithm6 . Every colour is attributed a Pantone colour value corresponding to the shade as found. On the basis of my collected “colour examples” – leaf, blossom etc. – these colours are checked so as to avoid colour deviations resulting from the photographs.
The information about the botanical characteristics is written at the bottom of the rod, and the rod is signed.
The finished work is the outcome of a cross-point within a matrix comprising the following parameters: travel, walk/performance (time), season of the year (time), perception, reduction of perception to colours in relation to the height of a plant (dimensions in space), norm (vertical – 3 metre aluminium rod), infinity (horizontal – circular area), repetition (repeated use of the algorithm), reduction (e.g. ignorance with respect to the plant’s specific form, and everything else that is not listed above but plays a part in the composition of reality.) Seasons of the year/ perception The same plant has very different appearances over the course of the seasons. If a plant is covered in snow in winter (white) or parts of a plant die during the winter months (brown-black-grey), this appearance is also incorporated into the registration of colours and is regarded as corresponding to the plant. Within a green environment, it will be a non-green colour that is noticeable first in the case of a green plant. In winter, in surroundings dominated by faded colours, the first colour noticed is green.
The length of the walk corresponds to the number of plants observed and therefore to the number of rods. This may turn out to be very different. Usually, between 10 and 30 plants are registered in the context of the algorithm; this corresponds to the same number of rods.
The adjoining colour proportions in the finished work correspond to the details of my perception. Overall, therefore, it is possible to see a colour spectrum that corresponds to the walk 1:1 in accordance with the algorithm. As a result of this hierarchical sorting work, my Visual Memory is extracted from the memory in the brain and not set side by side in a hierarchical fashion. And so the result is something like folding out the presence of close observation in the simultaneity of several focused moments, whereby each individual moment is set alongside the next. Normally, that is not possible for the human brain; we are always tied to the linear structure of one-after-another. The installation essays this folding out / multiplication of concentration by repeating the same application. The result is then visible in its entirety, although intellectually it is not possible to grasp the detailed algorithm all at once. We can grasp individual aspects, but not everything simultaneously. Arrangement in space/ installation The sequence of the individual rods (1 to x) from left to right should be retained; it corresponds to the order of the plants observed on the path through the botanical gardens. The rods are leant against the wall, very close together, so that the group appears as an overall area of colour. This mundane presentation represents the simplest way how to view the “result”. However, other forms of installation are equally possible. The work could be laid out on the floor, hung from the ceiling, etc. The space that the work refers to is the space of the matrix described. The installation of this parameter-constellation in concrete material and social space is simultaneously an examination/investigation of this confrontation between the constructed matrix and its concrete surroundings. Materials: aluminium, industrial paint, ink.
Botanic Code
Text by Jorinde Voigt 2009 / 2010
The characteristic features of a botanical garden are a combination of international vegetation, the reproduction of the whole world on a small scale, categorisation / scientific terms and establishment of definitions, research and the preservation of species.1 For the concept BOTANIC CODE, I take a walk through the local botanical gardens of every city to which I come as a result of my professional and private travels over a period of 12 months (November 2009 to October 2010). To date, I have produced BOTANIC CODES on the gardens of the cities Sydney, Berlin, Göttingen, Mexico City, Frankfurt am Main, Cologne and Bonn; the next to follow will be Rome, New York and Paris. In this work, the performative element of drawing is transferred to the movement of walking, the path on which I pass through the gardens. This is subject to my spontaneous decision. The walk is undertaken under the premise that my own perceptions with respect to colours are investigated. Proportional areas of colour, generated according to an algorithm developed for the purpose2 , are transferred onto aluminium rods 3 metres long. The outcome of such a visit to a botanical garden is a group of painted aluminium rods; an algorithmically developed “code” that takes as its theme my walk and perceptions along the parameters of colour, proportion, performance, season of the year, norm, and infinity – and creates a new matrix for perception.
RULE TO DEFINE THE COLOUR AREAS / ALGORITHM BOTANIC CODE 1.) Ø of the rod corresponds to the filigree quality of the plant 2.) Definition of colours 1st colour 2nd colour 3rd colour 4th colour 5th colour according to conspicuousness. 3.) Proportions of colour surface of the rod: C = _ · d = _ · 2 r Ø = diameter d = diameter _ = 3,1416 r = radius = 1/2 · diameter The length of the 1st colour corresponds to the height of the plant in cm. The width = the full circumference. The 1st colour is painted to cover the entire rod to this length. The length of the 2nd colour is calculated by dividing the length of the first colour by the number of colours altogether. The resulting value can be applied in different proportions (as long as the surface area remains proportional), so that the 1st colour is not completely covered by the 2nd colour. The length of the 3rd colour results from dividing the length of the 2nd colour by the number of colours in total. The same principle as for the 2nd colour is valid with respect to the coverage of the surface area. And so on… 4.) Arrangement of the colours (I) 1st colour: measured from the top edge of the rod, covering the full circumference of the rod. 2nd colour: 1 cm down from the top edge, positioning free 3rd colour: 2 cm down from the top edge of the 2nd colour, positioned to the right of the righthand edge of paint in 2nd colour 4th colour: 3 cm down from the top edge of 3rd colour, positioned to the right of the right-hand edge of the 3rd colour 5th colour: 4 cm down from the top edge of 4th colour, positioned to the right of the righthand edge of the 4th colour 5.) Arrangement of the colours (II) As a result of the division and staggering of the areas of colour in stages 2 – 5, areas of colour eventually cut off at the bottom of the rod are added next to the appropriate colour in question.
Along the algorithm developed in this way4 , one plant after another is selected for its striking coloration and documented per photo. 5 and an example of colour from the plant (e.g. a leaf that contains the typical colours) is collected. 4 “Rule to determine the colour areas / Algorithm BOTANIC CODE 5 BOTANIC CODE “Alter Botanischer Garten” of the University of G_ttingen, Germany; Jorinde Voigt, G_ttingen/Puerto Escondido, December 2009 / 12_ Magnolia grandiflora (Magnoliaceae, Magnolia grandiflora, _stliches N-Amerika Jorinde Voigt I CONCEPT BOTANIC CODE I 2009/2010 5 The botanical features of each plant are documented (name, Latin name, family, country of origin). For each plant, I decide which colour is most noticeable as the plant’s 1st typical colour, which colour as the 2nd, which colour as the 3rd and so on. This sequence contains 1 to 7 colours. In the studio, the diameter of the aluminium rod is chosen on the basis of the plant’s “filigree quality”. The areas of colour are arranged subsequently on this rod according to the algorithm6 . Every colour is attributed a Pantone colour value corresponding to the shade as found. On the basis of my collected “colour examples” – leaf, blossom etc. – these colours are checked so as to avoid colour deviations resulting from the photographs.
The information about the botanical characteristics is written at the bottom of the rod, and the rod is signed.
The finished work is the outcome of a cross-point within a matrix comprising the following parameters: travel, walk/performance (time), season of the year (time), perception, reduction of perception to colours in relation to the height of a plant (dimensions in space), norm (vertical – 3 metre aluminium rod), infinity (horizontal – circular area), repetition (repeated use of the algorithm), reduction (e.g. ignorance with respect to the plant’s specific form, and everything else that is not listed above but plays a part in the composition of reality.) Seasons of the year/ perception The same plant has very different appearances over the course of the seasons. If a plant is covered in snow in winter (white) or parts of a plant die during the winter months (brown-black-grey), this appearance is also incorporated into the registration of colours and is regarded as corresponding to the plant. Within a green environment, it will be a non-green colour that is noticeable first in the case of a green plant. In winter, in surroundings dominated by faded colours, the first colour noticed is green.
The length of the walk corresponds to the number of plants observed and therefore to the number of rods. This may turn out to be very different. Usually, between 10 and 30 plants are registered in the context of the algorithm; this corresponds to the same number of rods.
The adjoining colour proportions in the finished work correspond to the details of my perception. Overall, therefore, it is possible to see a colour spectrum that corresponds to the walk 1:1 in accordance with the algorithm. As a result of this hierarchical sorting work, my Visual Memory is extracted from the memory in the brain and not set side by side in a hierarchical fashion. And so the result is something like folding out the presence of close observation in the simultaneity of several focused moments, whereby each individual moment is set alongside the next. Normally, that is not possible for the human brain; we are always tied to the linear structure of one-after-another. The installation essays this folding out / multiplication of concentration by repeating the same application. The result is then visible in its entirety, although intellectually it is not possible to grasp the detailed algorithm all at once. We can grasp individual aspects, but not everything simultaneously. Arrangement in space/ installation The sequence of the individual rods (1 to x) from left to right should be retained; it corresponds to the order of the plants observed on the path through the botanical gardens. The rods are leant against the wall, very close together, so that the group appears as an overall area of colour. This mundane presentation represents the simplest way how to view the “result”. However, other forms of installation are equally possible. The work could be laid out on the floor, hung from the ceiling, etc. The space that the work refers to is the space of the matrix described. The installation of this parameter-constellation in concrete material and social space is simultaneously an examination/investigation of this confrontation between the constructed matrix and its concrete surroundings. Materials: aluminium, industrial paint, ink.
Botanic Code
Text by Jorinde Voigt 2009 / 2010
The characteristic features of a botanical garden are a combination of international vegetation, the reproduction of the whole world on a small scale, categorisation / scientific terms and establishment of definitions, research and the preservation of species.1 For the concept BOTANIC CODE, I take a walk through the local botanical gardens of every city to which I come as a result of my professional and private travels over a period of 12 months (November 2009 to October 2010). To date, I have produced BOTANIC CODES on the gardens of the cities Sydney, Berlin, Göttingen, Mexico City, Frankfurt am Main, Cologne and Bonn; the next to follow will be Rome, New York and Paris. In this work, the performative element of drawing is transferred to the movement of walking, the path on which I pass through the gardens. This is subject to my spontaneous decision. The walk is undertaken under the premise that my own perceptions with respect to colours are investigated. Proportional areas of colour, generated according to an algorithm developed for the purpose2 , are transferred onto aluminium rods 3 metres long. The outcome of such a visit to a botanical garden is a group of painted aluminium rods; an algorithmically developed “code” that takes as its theme my walk and perceptions along the parameters of colour, proportion, performance, season of the year, norm, and infinity – and creates a new matrix for perception.
RULE TO DEFINE THE COLOUR AREAS / ALGORITHM BOTANIC CODE 1.) Ø of the rod corresponds to the filigree quality of the plant 2.) Definition of colours 1st colour 2nd colour 3rd colour 4th colour 5th colour according to conspicuousness. 3.) Proportions of colour surface of the rod: C = _ · d = _ · 2 r Ø = diameter d = diameter _ = 3,1416 r = radius = 1/2 · diameter The length of the 1st colour corresponds to the height of the plant in cm. The width = the full circumference. The 1st colour is painted to cover the entire rod to this length. The length of the 2nd colour is calculated by dividing the length of the first colour by the number of colours altogether. The resulting value can be applied in different proportions (as long as the surface area remains proportional), so that the 1st colour is not completely covered by the 2nd colour. The length of the 3rd colour results from dividing the length of the 2nd colour by the number of colours in total. The same principle as for the 2nd colour is valid with respect to the coverage of the surface area. And so on… 4.) Arrangement of the colours (I) 1st colour: measured from the top edge of the rod, covering the full circumference of the rod. 2nd colour: 1 cm down from the top edge, positioning free 3rd colour: 2 cm down from the top edge of the 2nd colour, positioned to the right of the righthand edge of paint in 2nd colour 4th colour: 3 cm down from the top edge of 3rd colour, positioned to the right of the right-hand edge of the 3rd colour 5th colour: 4 cm down from the top edge of 4th colour, positioned to the right of the righthand edge of the 4th colour 5.) Arrangement of the colours (II) As a result of the division and staggering of the areas of colour in stages 2 – 5, areas of colour eventually cut off at the bottom of the rod are added next to the appropriate colour in question.
Along the algorithm developed in this way4 , one plant after another is selected for its striking coloration and documented per photo. 5 and an example of colour from the plant (e.g. a leaf that contains the typical colours) is collected. 4 “Rule to determine the colour areas / Algorithm BOTANIC CODE 5 BOTANIC CODE “Alter Botanischer Garten” of the University of G_ttingen, Germany; Jorinde Voigt, G_ttingen/Puerto Escondido, December 2009 / 12_ Magnolia grandiflora (Magnoliaceae, Magnolia grandiflora, _stliches N-Amerika Jorinde Voigt I CONCEPT BOTANIC CODE I 2009/2010 5 The botanical features of each plant are documented (name, Latin name, family, country of origin). For each plant, I decide which colour is most noticeable as the plant’s 1st typical colour, which colour as the 2nd, which colour as the 3rd and so on. This sequence contains 1 to 7 colours. In the studio, the diameter of the aluminium rod is chosen on the basis of the plant’s “filigree quality”. The areas of colour are arranged subsequently on this rod according to the algorithm6 . Every colour is attributed a Pantone colour value corresponding to the shade as found. On the basis of my collected “colour examples” – leaf, blossom etc. – these colours are checked so as to avoid colour deviations resulting from the photographs.
The information about the botanical characteristics is written at the bottom of the rod, and the rod is signed.
The finished work is the outcome of a cross-point within a matrix comprising the following parameters: travel, walk/performance (time), season of the year (time), perception, reduction of perception to colours in relation to the height of a plant (dimensions in space), norm (vertical – 3 metre aluminium rod), infinity (horizontal – circular area), repetition (repeated use of the algorithm), reduction (e.g. ignorance with respect to the plant’s specific form, and everything else that is not listed above but plays a part in the composition of reality.) Seasons of the year/ perception The same plant has very different appearances over the course of the seasons. If a plant is covered in snow in winter (white) or parts of a plant die during the winter months (brown-black-grey), this appearance is also incorporated into the registration of colours and is regarded as corresponding to the plant. Within a green environment, it will be a non-green colour that is noticeable first in the case of a green plant. In winter, in surroundings dominated by faded colours, the first colour noticed is green.
The length of the walk corresponds to the number of plants observed and therefore to the number of rods. This may turn out to be very different. Usually, between 10 and 30 plants are registered in the context of the algorithm; this corresponds to the same number of rods.
The adjoining colour proportions in the finished work correspond to the details of my perception. Overall, therefore, it is possible to see a colour spectrum that corresponds to the walk 1:1 in accordance with the algorithm. As a result of this hierarchical sorting work, my Visual Memory is extracted from the memory in the brain and not set side by side in a hierarchical fashion. And so the result is something like folding out the presence of close observation in the simultaneity of several focused moments, whereby each individual moment is set alongside the next. Normally, that is not possible for the human brain; we are always tied to the linear structure of one-after-another. The installation essays this folding out / multiplication of concentration by repeating the same application. The result is then visible in its entirety, although intellectually it is not possible to grasp the detailed algorithm all at once. We can grasp individual aspects, but not everything simultaneously. Arrangement in space/ installation The sequence of the individual rods (1 to x) from left to right should be retained; it corresponds to the order of the plants observed on the path through the botanical gardens. The rods are leant against the wall, very close together, so that the group appears as an overall area of colour. This mundane presentation represents the simplest way how to view the “result”. However, other forms of installation are equally possible. The work could be laid out on the floor, hung from the ceiling, etc. The space that the work refers to is the space of the matrix described. The installation of this parameter-constellation in concrete material and social space is simultaneously an examination/investigation of this confrontation between the constructed matrix and its concrete surroundings. Materials: aluminium, industrial paint, ink.
Botanic Code
Text by Jorinde Voigt 2009 / 2010
The characteristic features of a botanical garden are a combination of international vegetation, the reproduction of the whole world on a small scale, categorisation / scientific terms and establishment of definitions, research and the preservation of species.1 For the concept BOTANIC CODE, I take a walk through the local botanical gardens of every city to which I come as a result of my professional and private travels over a period of 12 months (November 2009 to October 2010). To date, I have produced BOTANIC CODES on the gardens of the cities Sydney, Berlin, Göttingen, Mexico City, Frankfurt am Main, Cologne and Bonn; the next to follow will be Rome, New York and Paris. In this work, the performative element of drawing is transferred to the movement of walking, the path on which I pass through the gardens. This is subject to my spontaneous decision. The walk is undertaken under the premise that my own perceptions with respect to colours are investigated. Proportional areas of colour, generated according to an algorithm developed for the purpose2 , are transferred onto aluminium rods 3 metres long. The outcome of such a visit to a botanical garden is a group of painted aluminium rods; an algorithmically developed “code” that takes as its theme my walk and perceptions along the parameters of colour, proportion, performance, season of the year, norm, and infinity – and creates a new matrix for perception.
RULE TO DEFINE THE COLOUR AREAS / ALGORITHM BOTANIC CODE 1.) Ø of the rod corresponds to the filigree quality of the plant 2.) Definition of colours 1st colour 2nd colour 3rd colour 4th colour 5th colour according to conspicuousness. 3.) Proportions of colour surface of the rod: C = _ · d = _ · 2 r Ø = diameter d = diameter _ = 3,1416 r = radius = 1/2 · diameter The length of the 1st colour corresponds to the height of the plant in cm. The width = the full circumference. The 1st colour is painted to cover the entire rod to this length. The length of the 2nd colour is calculated by dividing the length of the first colour by the number of colours altogether. The resulting value can be applied in different proportions (as long as the surface area remains proportional), so that the 1st colour is not completely covered by the 2nd colour. The length of the 3rd colour results from dividing the length of the 2nd colour by the number of colours in total. The same principle as for the 2nd colour is valid with respect to the coverage of the surface area. And so on… 4.) Arrangement of the colours (I) 1st colour: measured from the top edge of the rod, covering the full circumference of the rod. 2nd colour: 1 cm down from the top edge, positioning free 3rd colour: 2 cm down from the top edge of the 2nd colour, positioned to the right of the righthand edge of paint in 2nd colour 4th colour: 3 cm down from the top edge of 3rd colour, positioned to the right of the right-hand edge of the 3rd colour 5th colour: 4 cm down from the top edge of 4th colour, positioned to the right of the righthand edge of the 4th colour 5.) Arrangement of the colours (II) As a result of the division and staggering of the areas of colour in stages 2 – 5, areas of colour eventually cut off at the bottom of the rod are added next to the appropriate colour in question.
Along the algorithm developed in this way4 , one plant after another is selected for its striking coloration and documented per photo. 5 and an example of colour from the plant (e.g. a leaf that contains the typical colours) is collected. 4 “Rule to determine the colour areas / Algorithm BOTANIC CODE 5 BOTANIC CODE “Alter Botanischer Garten” of the University of G_ttingen, Germany; Jorinde Voigt, G_ttingen/Puerto Escondido, December 2009 / 12_ Magnolia grandiflora (Magnoliaceae, Magnolia grandiflora, _stliches N-Amerika Jorinde Voigt I CONCEPT BOTANIC CODE I 2009/2010 5 The botanical features of each plant are documented (name, Latin name, family, country of origin). For each plant, I decide which colour is most noticeable as the plant’s 1st typical colour, which colour as the 2nd, which colour as the 3rd and so on. This sequence contains 1 to 7 colours. In the studio, the diameter of the aluminium rod is chosen on the basis of the plant’s “filigree quality”. The areas of colour are arranged subsequently on this rod according to the algorithm6 . Every colour is attributed a Pantone colour value corresponding to the shade as found. On the basis of my collected “colour examples” – leaf, blossom etc. – these colours are checked so as to avoid colour deviations resulting from the photographs.
The information about the botanical characteristics is written at the bottom of the rod, and the rod is signed.
The finished work is the outcome of a cross-point within a matrix comprising the following parameters: travel, walk/performance (time), season of the year (time), perception, reduction of perception to colours in relation to the height of a plant (dimensions in space), norm (vertical – 3 metre aluminium rod), infinity (horizontal – circular area), repetition (repeated use of the algorithm), reduction (e.g. ignorance with respect to the plant’s specific form, and everything else that is not listed above but plays a part in the composition of reality.) Seasons of the year/ perception The same plant has very different appearances over the course of the seasons. If a plant is covered in snow in winter (white) or parts of a plant die during the winter months (brown-black-grey), this appearance is also incorporated into the registration of colours and is regarded as corresponding to the plant. Within a green environment, it will be a non-green colour that is noticeable first in the case of a green plant. In winter, in surroundings dominated by faded colours, the first colour noticed is green.
The length of the walk corresponds to the number of plants observed and therefore to the number of rods. This may turn out to be very different. Usually, between 10 and 30 plants are registered in the context of the algorithm; this corresponds to the same number of rods.
The adjoining colour proportions in the finished work correspond to the details of my perception. Overall, therefore, it is possible to see a colour spectrum that corresponds to the walk 1:1 in accordance with the algorithm. As a result of this hierarchical sorting work, my Visual Memory is extracted from the memory in the brain and not set side by side in a hierarchical fashion. And so the result is something like folding out the presence of close observation in the simultaneity of several focused moments, whereby each individual moment is set alongside the next. Normally, that is not possible for the human brain; we are always tied to the linear structure of one-after-another. The installation essays this folding out / multiplication of concentration by repeating the same application. The result is then visible in its entirety, although intellectually it is not possible to grasp the detailed algorithm all at once. We can grasp individual aspects, but not everything simultaneously. Arrangement in space/ installation The sequence of the individual rods (1 to x) from left to right should be retained; it corresponds to the order of the plants observed on the path through the botanical gardens. The rods are leant against the wall, very close together, so that the group appears as an overall area of colour. This mundane presentation represents the simplest way how to view the “result”. However, other forms of installation are equally possible. The work could be laid out on the floor, hung from the ceiling, etc. The space that the work refers to is the space of the matrix described. The installation of this parameter-constellation in concrete material and social space is simultaneously an examination/investigation of this confrontation between the constructed matrix and its concrete surroundings. Materials: aluminium, industrial paint, ink.
Die Objekt-Serie About Stability I-XI, Jorinde Voigt 2019 basiert auf den Zeichnungen März-Studie 1 + 2, Jorinde Voigt, Berlin 2016 (WV 2016-033-034).