Fritz Klemm examines himself and the motif in long series of drawings, shortening, shortening more and more to the very edge of silhouette. The result: no longer a report of stories, but of existential conditions. By heaving his motifs into mighty panels of yellow, gray, and black since 1963, he abandoned likeness: the motif became for him even more the Spartan theme of allegorizing painting as reflection (self-portraits), cognition (window), and world view (wall).
Since 1973, he takes up only one theme: the wall of his studio, an exposed concrete box, which he described from all sides, metaphor continues for the work of the painter and for his ability to communicate to the world, cell as window, wall painting as self-reflection. Klemm begins to "paint" with tea and ink, with graphite pencil and with scissors, with the alternation of papers in the run and in the bleed. Examples of minimalist art emerge with the "unartistic" approach of harnessing the poverty and grace of arbitrary papers, coating them with Caparol and pondering them with sparse, wavering lines.