The unnamed work from 1958 stands succinctly for the works of the painter Karl Otto Götz, which are characterized by impulsive rhythms of movement. Soft and hard, dissolved and clenched, light and massive masses are set in relation to each other and yet follow a common dynamic. The informal structures, held in nuances between black and white, intertwine to form a powerful overall picture. Since 1952 Götz has pursued the dissolution of the classical principle of form. Thus, positive and negative forms interpenetrate in the pictorial structures, foreground and background blur. Götz creates this ambivalent effect through a coordinated work process. On paper primed in white and coated with paste, he paints in thin acrylic paint with a broad brush and then breaks through the drawn lines with the squeegee. In the process, each form traces the artist's movement, is a trace of the creative process, which is realized in the dynamics oscillating between chance and automatism.