For Gerhard Hoehme, the naming of a work has always been a component of the artistic creative process. Thus the title "emanation", which the artist chose for this work from 1969, also reflects his painterly concerns to a particular degree. The term from (religious) philosophy describes the emergence of a phenomenon from its origin, in a figurative sense also the release of light and the outflow of water: six translucent plastic cords break out from the surface of the painting, which is covered with green, white and gray swaths of color. Despite their haptic quality, the impasto applied colors seem weightless; an effect carried by the scriptural echoes of the paint application. Hoehme formally combines the aesthetic structures of his so-called Borckenbilder, in which the materiality of the paint - often interspersed with threads - is in the foreground, with the gestural qualities of the so-called Briefbilder, created around 1960. In the work "emanation", however, the line physically enters the space: the object-picture becomes, as Gottfried Boehm puts it, a "mediator"; the strings stand symbolically for the relations and information flows in the modern world. The painting becomes a parable about the conditions of the image and those of the world of experience.