When Günther Uecker hammered nails into a monochrome picture for the first time in 1957, he spurred an artistic development, which, despite its usage of unvarying and simple materials, is characterized by remarkable diversity and individuality up until today. First of all, the nail as a means of creation liberates the canvas from its two-dimensionality, adding haptics and an object-like character to the artwork. Additionally, the process of creation itself is of decisive importance to Uecker, carried out almost like a ritual, it means great physical and mental strain. In this process his body plays an important role for the proportions of his works: 'The motion of my feet, the twist of my body and the range of my arms [..] are choreographic signs that fill the image field' (Günther Uecker, in: Kunst des 20. Jahrhunderts, released by Ingo F. Walther, Cologne 2000, p. 503).