Van Doesburg founded ‘Concrete Art’ on a criticism of Mondrian’s geometric formalism. Post-concrete painting aims to reach even more expressive modalities by overcoming the cubist supremacy of the triangle and the square. The circle segment plays therefore a fundamental role in its compositions.
The second braking moment of post-concrete painting is the rehabilitation of chromatic pluralism in contradiction to the dogmatic of chromatic complementarity. Through this original approach to abstract painting a world of figures, landscapes and still-lives arises that characterizes Fitzi’s painting in the 1970s and early 1980s.
After the long march through the re-edification of the neo-antique, post-metaphysical painting in his last creative phase Fitzi comes back to the post-concrete thematic. He follows an intellectual interest: how many compositions of the same setting of forms are possible?
The Labyrinths show the path of his calculation. The classical metaphor of the inscrutability of the soul becomes thereby a pictorial matter in 45 moves.