Committed to a non objective idiom, Vordemberge-Gildewart referred to his practice as "absolute art," or art devoid of representation. He used colour, form and contrast to investigate the possibility of visual equilibrium among geometrically unequal components. Often creating multiple versions of the same work, the artist would reconfigure the primary elements to investigate each component's role in the composition. He also experimented with materials such as sand to create a textural quality that he designated rauh, or "rough", which can be seen in the middle yellow stripe in this painting. "Vordemberge-Gildewart developed surprisingly simple, elementary visual relationships, which appear in their most radical form in partial sections of interior solutions or individual fields in multi-part pictures. A colour field set in the corner of a room, for example, can only be structured by equidistant lines drawn parallel to the edge, a wall only by a broad, vertical stripe, a pictorial field only by a thread affixed at an oblique angle. The bold pictorial cuts that were presented during a later phase in the history of art and are now regarded as the hallmarks of certain artists are already evident in these works as potential lines of development." (Volker Rattemeyer, exh. Cat. Annely Juda Fine Art, 2016)