An obvious feature shared by the different, quite divergent classical types of subject matter interpreted by Jörn Grothkopp in a very unique and individual new manner, is the reduction of the elements of the image to its basic structures, effecting a radical simplification of the visual forms. To this is added the blurriness of forms, as well as the fact that in many paintings Grothkopp pushes both forms and colors almost to the edge of perceptibility. The shapes appear as seen through a fog, hovering just beyond the reach of visual and verbal tangibility, as if a veil had been lowered between perceiving subject and perceived object. At the same time it remains unclear whether these shapes and forms are dissolving into the fog or rather appearing out of this fog. Are the different variations of the Mona Lisa reconstructions of possible preliminary stages to the completed painting, or are they subsequent deconstructions of that iconographic image? The question remains unanswerable, or rather it is both simultaneously, an oscillating persistence in an intermediate state between sensorial and mental perception, abstraction and figuration—at times it is almost as if Rothko’s vibrating abstract forms had almost, but not quite, been pulled back into figuration.