Stöhrer's works from the 1970s are possessed of a highly distinctive dynamic and palette. In contrast to his earlier works, many of his scribblings are now partially concealed beneath the open and tightly woven tapestry of colour, lines and forms. In this untitled sheet, it is much more the scrawled underdrawing on which the pictorial events then unfold. Colour and line appear to encircle each other, nothing is fully articulated or readable – an explicit objective of the painter: “I prefer to finish too early, rather than too late. I never try to paint something to the very end. That derives from a certain respect towards myself, and above all to the person viewing or subjectifying the work. To ensure he retains his freedom. It is important to me to finish at the right time so that there is still something left unfinished – as if one could continue to paint." (Dorothee Schrade: Fragen an Walter Stöhrer. Tonbandprotokoll from August 5, 1986, in: Walter Stöhrer. Malerei auf Papier 1986. "Carmen" für Wondratschek, Galerie und Verlag E. und D. Schrade, Schloß Mochental, Ehingen 1986, p7)
In common with his canvases from this period, this sheet reveals Walter Stöhrer's characteristic graphic language of form, comprising archaic symbols, acronyms, match–stick figures, body parts, heads and eyes. These images are dynamic, powerful, and charged with energy. In an inseparable synthesis of physical movement and painterly gesture, the artist has brought his inner most feelings to paper. This authenticity is reflected in this present work, which reveals an intensive, multilayered well of emotions, conveying the progress and transformation of existential processes.
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