Literature: Sabine Fehlemann (ed.), Hann Trier, WV Gerlach-Laxner, Cologne 1990, no. 520; Hann Trier, Moderne Galerie des Saarland-Museums, Ausst.Kat. Saarbrücken 1985, ill. p. 69

Hann Trier acquired the reputation of being able to make the brush dance ambidextrously. Not only in this, but also in his light, sometimes pastel-like palette, a spiritual closeness to the late Baroque is evident. The lightness and the loosely buoyant rhythm fill Trier's painterly work, which culminates in ceiling paintings in the Charlottenburg Palace, for example - abstract evocations of the Rococo. Thus one can assume that the painting "Cancer" from 1967 - especially with its reference to the Zodiacus (Latin, zodiac) - does not refer to the depiction of a cancer, but to the zodiac sign of cancer, i.e. a galactic constellation in all its visual volatility and carefully arranged randomness. The red color is reminiscent of the animal itself, and not least the trace character of the brushwork - in two-handed, axis-oriented interplay (not unison) - suggests the movement of the crab. Although Trier belonged to the protagonists of Informel, the viewer imagines concrete, albeit enigmatic images in the context of the title. Beyond all possibilities of classification in terms of content, the talent for using both hands with equal skill reveals a dexterity that is indeed dance-like, and which makes Trier's works unmistakable.