Vera Molnar

After relocating to Paris in 1947, she became part of a community of artists exploring Concrete and Kinetic Art, collaborating with contemporaries like François Morellet and Julio Le Parc. In the 1960s, Molnar initiated the development of visual systems using basic tools such as paper, a ruler, a compass, and index cards. Guided by strict principles of seriality, repetition, and variation, she sought to create images that emulated machine production, all prior to the advent of computer technology.

In 1968, Molnar embraced computational methods at the Sorbonne, establishing herself as one of the pioneering artists in this domain. By utilizing early mainframe systems and plotter printers, she translated her conceptual frameworks into tangible algorithms, often collaborating with computer scientists. Her focus was less on the technology itself and more on the potential it offered to systematize artistic expression and expand visual possibilities. The machine functioned as an intellectual apparatus, facilitating a venture beyond mere intuition, exploring new forms, rhythms, and an element of randomness.