r.t.ficial is a cyborg
The views of a parallel universe discernible on this website are findings (erratic blocks) of a virtual reality processed by me: digital art
Since you are incapable of generating these immaterial pictorial worlds without a computer the digital artist r.t.ficial is a hybrid being (cyborg) consisting of a human and a technological creator. The human part is represented by Peter Ludwig Wegener(*1949 in Luebeck, Germany), the artificial part by a computer(Fujitsu Siemens Scaleo PC), not a tool in a traditional manner like brush or palette but irreplaceable partner and what is more integral element of r.t.ficial as an artistic individuality.
r.t.ficial continues the tradition of geometric abstraction
My pictures refer to 20th century art historical developments like Suprematism, Constructivism, De Stijle, Concrete Art, Abstraction-Création, Neoplasticism, Op Art etc. whose many different attitudes are attributable to the concept of geometric abstraction, a tendency to establish harmonious pictorial structures in a deliberately constructed way liberated from representational motifs by using simple geometric forms.
The preferred visually determining motifs like square, circle, triangle, trapezoid etc. predominantly derive from the geometry of Greek mathematician Euclid (365 - 300 BC).
r.t.ficial uses the patterns of fractal geometry
The geometry however underlying my iconography is that of fractal geometry, a language appropriate to depict basic schemes of order in a deterministic chaos. The term "fractal" derived from the Latin word "fractus"("fragmented" or "broken") was coined in 1975 by the mathematician Benoit B. Mandelbrot (The Fractal Geometry of Nature) and means any pattern that reveals greater complexity as it is enlarged, while traditional Euclidean figures (square, circle and so forth) appear simpler as they are magnified.

Another property of fractal patterns is self-similarity: a component part of an object resembles the whole and the reiteration of details occurs at progressively smaller scales, so that each part of each part, when magnified, will look basically like a fixed part of the whole object, think of intricate branch systems of trees or lightnings.
Fractal geometry describes many nonuniform phenomena in nature, a source determining the awesome variety of the whole creation.
A voyage throughout all scales of the universe contributes to the impression of a self-similar world from the intergalactic macrocosm to the subatomic microcosm.
r.t.ficial doesn`t create but explores, doesn`t manufacture but discovers
You can enter the world of fractals using the graphically represented results of equations based on complex numbers, used in an iterative way as positive feedback loops so that the output is fed back into the system as new input again and again. The results reveal new structures up to an infinitely small scale, structures that can be isolated for further processing.
It`s my intention to discover and explore the universal beauty of those structures, to share it and to give its immaterial appearance a material manifestation eliciting mind behind cosmic geometry, the basic principles of creation.
The significance of the square in 20th century art
The artistic conceptions of painters like Malevich, Kandinsky, Klee and Albers reveal the meaning and significance of the square as a shape of the entire surface,as pictorial motif and moreover as a symbol in 20th century art.
To Malevich the "Black Square" is the absolute zero of a representational reduction,a shape that suggests the"absolute" of a mere mind revealing higher spirituality. Kandinsky regards the elementary form of the square as a vivid organism that can be used as a carrier of psychological properties.("Point and Line to Plane,1926)
Klee applies the square besides circle and triangle as structural elements embodying multiple growth by reiteration.
Albers("Homage to the Square") goes without the symbolic, iconographic and psychologic classification of the square. To him it`s a shape facing the perceptive eye and challenging its reaction, a shape best suitable for clearly organized constructions by its regularly symmetric qualities of form.
r.t. ficial prefers the square format for his artistic discoveries
I use the square format as a container, a room where I can visually manifest my fractal findings. This place is a merely human invention.The square with its straight lines, right angles and parallels doesn`t exist in or by nature. It can be interpreted as an allusion to man`s everlasting confrontation with nature, a symbol of stability and static perfection frequently used as harmonious outline perfectly corresponding to enclosed places like gardens, cloisters and courtyards.
Thus the square becomes a living space to the representatives of fractal manifestations, a particular habitat restricting their threateningly proliferating unpredictability in the inscrutable interplay of chaos and order that causes a sense of menace in man.
Nevertheless the square doesn`t represent a kind of cage, but harmonizes with the world of fractal structures as seen from the point of view of perceptual psychology. All sides and axes even though not visible tend to outgrow their actual length.This property of being able to visually transgress its own boundaries makes the square an convenient frame for the findings from a parallel world.
Ways and means of materializing the works
I would like to fit out the computer files with a durably material existence. These files permit a printsize of 120 cm x 120 cm in best quality.
Printing is possible on canvas with XXL stretcher bar (frame depth 4 cm), on fine art paper, e.g. Fiba Print White Matte 280 g (high white) IFA 39, framed behind glass. The very best quality and effect is accomplished by Fine Art Plex:The picture is exposed and developed by means of traditional chemicals (lambda photographic exposure),then printed by using Fuji Color Crystal Archive Paper and laminated to an aluminium sheet. Finally an acrylic glass sheet is attached to the front of the picure effectuating a special brilliance.