Immendorf claims the possibility for the artist to work without any theorical or ideological justification, without any responsability not social engagement. His works crowded with « heavy » figures, full of dazzling colours, privileges the ornament, leads more to the narrative folklore than to communication. The openly scenographic appearance of the composition is not a special effect, it does not look for any involvement of the spectator, but is a vital consequence of an excessive painting which ignores the linear evolutionary course.
The obvious lack of style is not anymore provocation but is already struggle, deprival, which allows the treading of all the painting conventions, the first ot them being the one according to which Art is a vehicle – or at least an instrument – of communication. This work does not declare anything. It differs voluntarily from any other communicative system, it message is purely formal and, to say it in Immendorf’s way : « An artist fist is a fist as well ».