However, breaking the form into several distinct pieces - and thus creating concurrency, variety and new connections - also becomes possible and significant, especially in consideration of the work's relationship with its environment. The artist constantly strives for a balanced composition.


The space in which the works are exhibited is decisive for their effect - the squares must be placed at substantial intervals to one another, and require a large space in order to display their full effect and intensity, created through a coupling of form, colour and size. The way the paintings are hung, and therefore their cooperation with the space around them, forms a further important component in their pictorial effect within the environment. The various formats and colours create a rhythm, and thus counteract the static quality of their basic form. This results in a changeable tension between the works and the interiors in which they are displayed, in which these are redefined. The expression of this interplay between individual work and series is one of the artist's central proposals. The image is not understood as a mere medium, carrier of a message, but always coincides with this function and thus gains the status of an unknown object with a sense of autonomous reality.


The works represent an idealised structure, through which the artist becomes an ascetic, servant of a stern, impersonal and puritanical order. The lack of any concrete means of understanding the works allows for any number of interpretations, or none at all, and holds up a mirror to the viewer. Umberto Eco coined the term "offenes Kunstwerk" (the open work) to describe this characteristic.


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