The installation “Raumzeichen”, 2001, shows both the painter and installation artist Stohrer. The 95 individual panels are all sensitively worked through and are worth the approach and the singular observation. In harmony, the lively frieze emits irresistible energy and is not art for art’s sake, but for the sake of the viewer. To understand how Stohrer achieved this, one must walk down the rows panel by panel and, above all, focus on the space between the neighboring individual works.

Harmonic transitions and supposedly “impossible” changes create the pulsating echo of dissonant consonance. Since “semiotics”, sign theory has been interested in the decoding of signs. Thereby the word comes from the Indo-Germanic of “bright shining” or “shimmering” and also referred in the Old High German “zeihhan” to the miraculous and supernatural. The “Raumzeichen” can be read as a semiotic research project, full of trust in the unplannable shimmering of art.