Peter Stohrer, who has been working for many years on the creation and development of “painting bodies” in his orderly painterly approach, works with found objects of all origins. They often form the basis for a further creative exploration that follows the idea principle of the “surface in space”, or with pseudo-architectural set pieces that sometimes complement and sometimes counteract the painterly action. The materiality of the paint also plays a decisive role: whether applied impasto in oil or glazed in acrylic, its materiality creates weights in the space and beyond the space.
In the process, a space and body world emerges that has no size patterns and that displays a mostly angular, formal rigour. Their function is ironically situated in sense and nonsense, but at the same time they are

also in the fascination of aesthetic presence.
The painted bodies are subject to a multi-layered treatment in which, in addition to the painterly intervention, they are also filled, sanded and built and collaged using other independent materials such as paper, glass and foils. The formal observation and the balancing of the possible final appearance can take longer periods of time and take place in a free, unbound context shaped by the artist’s hand.
A painting body fund, a painting body collection is ultimately the result and forms the basis for such an exhibition, in which the painting bodies assert themselves visually, subjectivise and autonomise themselves. After all, in their construction and appearance, many of Peter Stohrer’s works seem like amorphous architectures of a time past or even a time to come.