“The system of this work is usually a fixation of the angle of rotation, which determines the progression of the particles. In the overall implementation, according to these prerequisites, a so-called large character results in the desired formation, i.e. the square elements are arranged in the picture to form a superordinate figure, which derives its legitimation from the system of treatment of the microesthetic signs. .
In principle, all steps of this examination are defined in advance and can therefore also be measured. Furthermore, these investigations can basically be expanded according to the established scheme, so they do not stop at the edge of the picture and thus cancel the traditional definition of the picture as an existential statement, as a unique individual.“
(Hans-Peter Riese)
1966 exhibition „Kinetische Kunst“ Galerie Niemann (Rheine) Kunibert Fritz (top left)
“In his earlier work a preference for the division of the square can be seen. He gained his aesthetic from the systematic dissolution (i.e. the new arrangement of parts resulting from method). The optical result has an ornamental effect because the division both from inside to outside (from a small, to a larger, circumscribing) square and from outside to inside; thus progressing from a larger to a smaller unit. This necessitates a central structure (negative or positive). The systematic connection has an additive association consequently following the dissolution of the isolated element. The base area is again the square, so that the eye can effortlessly establish a connection via the axial position of the individual elements to the higher-level figure. ” (Hans Peter Riese)
“In the pictures, the square is addressed as a phenomenon of the center, as the center of pictorial events, as the encounter of vertical and horizontal, as an expression of the highest purity of form and perhaps also as a symbol of the human longing for balance and peace ... ” (Klaus Staudt)