Lahme recognizes for himself: “That what is in the image is primary, ‘eternal’ art. The way the image is hung is secondary, momentary.”
In the 1960s Dieter Lahme (born 1938 in Emmerich, lives in Wanzleben) paints concentrates: geometric forms, black, white, usually on the format 1x1 m. A conflict leads to the emergence of the all-around-images: A buyer of his paintings hangs two of them against the direction intended by the artist and questions top and bottom, right and left. Lahme recognizes for himself: “That what is in the image is primary, ‘eternal’ art. The way the image is hung is secondary, momentary.” The solution is provided by the ball as a painting surface. The beholder can take it into his/her hands, turn it, look at it from different sides and sense it. As a continuation of this, Dieter Lahme creates the Plastic Systems: variable sculptures consisting of several geometric bodies that can be altered by the beholder as she or he thinks fit by rearranging the single elements. Dieter Lahme’s art is based on this social idea of an open dialogue, its components are intellectually ambiguous and manually modifiable.