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‘I bethink at the age of 17 sitting on the attic of the Fondation Maeght in St-Paul-de-Vence, staring at a Kandinsky,’ said Mantz, abandoning his ancestry as a painter, his eyes sparkling at the memory. ‘I was so aflame by the painting. I admired it. I didn’t accept what was accident to me but I realised that I had to accept this … mystery.’ He laughed. ‘It was the moment which afflicted my life.’

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Two weeks earlier, Mantz and a academy acquaintance had cycled abroad from home in Ulm. They had planned to absorb their Easter anniversary benumbed to Lake Constance, about 100 kilometres away, but the hills were so abrupt that the boys alone their bikes at a friend’s abode and started to hitchhike. By the end of the aboriginal day they were in Switzerland. On the additional black they had accomplished the Mediterranean.

‘I was so blessed to be in the south of France that I absitively to break on for an added week,’ recalled Mantz. ‘I beatific a postcard to my parents allurement them to acquaint the academy that I was sick. But my parents afraid that article was wrong, and showed the agenda to my teachers. Everyone knew the accuracy aback I alternate home.’

‘At aboriginal I wasn’t abiding if I would become an artist. I was absorbed by physics: radio, television, aboriginal computer technology. But I realised that I was no Albert Einstein,’ he smiled. ‘I didn’t accept the memory. So I thought, my anamnesis is acceptable abundant for the arts.’

In 1970 Mantz enrolled in Karlsruhe’s Academy of Arts. Over the abutting 20 years his abstruse painting developed through ‘Wilde Kunst’ to physical, three-dimensional sculpture. He accomplished alfresco the anatomy and then – in works like the thin, red-lipped acrylic Himalia – aesthetic his focus aural it, apperception on atypical objects. Abutting in 1995 he began application computers to advice him to anticipate and ascertain form.

‘When I apparent the computer, I was so aflame by its potential. The architecture of basic forms was actual agnate to my three-dimensional collapsed work. I thought, “This is the best toy – and tool – I’ve anytime had”.

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Mantz began to assignment with the Vue d’Esprit – and after Vue – 3D cartoon programme, creating altar that did not abide alfresco the computer’s memory, authoritative altar that were neither reconstructions nor representations.

‘The assignment took me aback to my roots at the Academy. I begin myself apperception amplitude and again amalgam it. I put the basic camera central altar and then – in time – into a landscape.’

His able and awesome agenda landscapes seemed to be of the concrete world, active affections in the viewer, yet they were constructs which advance the eyewitness both to the accustomed and to the new.

Mantz showed me his Ahnende Erfahrung – ‘Foreboding Experience’ – a apparitional eyes of circuitous and aloof undergrowth, allotment of his Forest series.

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‘My absorption was to actualize a bracken which you could attending through but never penetrate. I congenital it on the collapsed arena of the computer screen, application scans, abacus the bush, the stones, absolution the computer alike alone elements. In that way I’m added like a agriculturalist than an artist, throwing seeds into the anatomy and seeing what comes up.’ He stared at the lifelike, abstruse image. ‘This is Jackson-Pollock-in-the-forest for me.’

His all-inclusive cloudscapes – printed on three accent lengths of canvas – are abnormally moving. Wild, transparent, disorientating yet comforting, they transported me into the sky. ‘But you can’t footfall on these clouds,’ Mantz said, bringing me aback bottomward to earth. ‘They are an illusion.’

In his alternation Air, as in Caspar David Friedrich’s paintings of skies, clouds accentuate an aspect of the sublime, activation animosity of crisis and power, arena with account of accuracy and ambiguity. But admitting Friedrich’s clouds were an apotheosis of abandon and the divine, Mantz’s antecedence is not to back a abstract experience; rather he aspires to ability a akin of absorption evocative of Rothko. In accession Mantz – clashing the Romantics – places no individuals aural the frame, apprehension the break aloof and unattainable, blocked by thorns or blocked by mist.

His admirable Air paintings accept titles like Distant Incubation and The Faithfulness of the Devil. Other landscapes – which he calls ‘archetypal spaces’ – accommodate the alternation Ocean, Rivers, Wasteland and Mountains.

In contempo years Mantz has additionally alien movement into his work, creating animations in his Infinite Angel Productions.

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‘The absorption for this assignment came to me during a address in Mecklenburg-Vorpommerania,’ he explained. ‘I stared at a acreage of goats and sheep, watching their approximate agriculture and meetings, and set about designing a programme which would simulate that movement.’

The consistent animations are ad-lib and unique, a accidental consecutive architect ensuring that no angel is anytime repeated.

Gerhard Mantz is softly-spoken and self-effacing, at home both in his white-walled Schöneberg accommodation and his New York studio. He has over 50 abandoned and 60 accumulation shows to his acclaim and, aback I complimented him on his abounding abundance he shrugged and said with humility, ‘Oh, that’s aloof because of my age.’

‘You can alarm me a agenda artisan of course,’ he concluded. ‘But that suggests for me assignment that is ever technological. I anticipate of myself aloof as a painter.’

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