Peter Sehringer does not require any of the usual painting tools for the execution of his often large-format panel paintings. Early on, he acquired a pictorial technique that goes far beyond traditional painting. Abandoning brush, canvas, and easel, the border crosser creates pictorial works that, due to their increased materiality of the pictorial surface, can be located in the intermediate area of painterly and plastic modes of expression. Sehringer uses photographs, book illustrations, fabric samples, etc. as models. He projects the selected motifs - usually greatly enlarged, sometimes distorted - onto transparencies, which he then uses as stencils to transfer the contours onto wooden panels. For the interior design, he uses an incrustation technique that requires a considered, layer-by-layer approach. In addition, Sehringer adds linear structures or carves ornaments into the picture ground. With his works, Peter Sehringer takes up traditional subjects such as still life, landscape painting, and figure painting, but transports his motifs into the real visual world in a radicalized, concentrated form, thus questioning their validity in the media age of the 21st century. By adding fillers such as marble, pumice powder, or aluminum dust to his paints so that they can be poured and puttied, Sehringer makes the viewer aware of the possible objecthood of painting. By evenly sanding the dried relief surfaces, Sehringer binds the sharply contoured motifs into the picture ground. With his work "ZZ" he extends the figure painting to the self-portrait, which is recognizable in detail, but on the whole aims at a typification of his own person.