When Hann Trier paints, he leaves traces on the canvas, adding marks, notches, scars to it. Two-handed, in quick swings, he spreads grey paint on a yellow background and ejects his nets from black lines. For Trier, painting means dancing in coherent sequences on a manageable surface. After the war, he searched for new ways, wanted to leave behind what had been decreed and permitted so far. Trier overcame the strict statics of the panel painting through the spontaneous act of painting. Through the gestures, the painter’s emotions break out and generate axes and symmetries as precipitation, which are lost in the labyrinthine thicket of lines as in the wing-like composition of 1961. From 1956, the dynamic, fabric-like structures were created, which he calls “vibrations” and which are regarded as one of the highlights of German informal painting.