The paintings open up a variety of aesthetic effects, conditioned by multiple applications of paint and the partial disclosure of the process of creation. The box-shaped wall objects are a further step towards a dialogue between sculpture and space.
With this exhibition, we are witnessing the development of another, new phase in Peter Stohrer’s work. It has not lost one iota of its craftsmanship.

The artistic intention, however, is now a different one: the “obvious nothingness”, as the artist put it, the spirituality of the white works of that time, is concretised in the layered colour-matter of the mixed pigments into colour and the wall objects reflecting their materialisation. In this way, he moves considerably closer to the “being” that defines us, which has long since left behind the point “zero”, the starting point zero of the sixties and that of all zero points before it.