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, floral patterns, and fabric samples 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 sprays impasto drawings or carves ornaments into the picture ground. With his works, Peter Sehringer takes up traditional subjects such as still life, animal and landscape painting, and figure painting, but transports his motifs in radicalized, concentrated form into the real visual world, thus questioning their validity in the media age of the 21st century. Comparable only to Gerhard Richter, Sehringer is able to integrate figuration and abstraction in his work in equal measure, in that he creates his representational motifs abstractly and, conversely, conceives the abstract images concretely. However, Sehringer's technical approach remains singular. By adding fillers such as marble powder and others to his paints so that they can be poured and filled, Sehringer makes the viewer aware of the possible object-like nature of painting. By evenly sanding the dried relief surfaces, Sehringer binds the sharply contoured motifs into the picture ground.