Model and Orientation – Graphic Arts, Collage, Painting
The disposition to reflect on his own artistic work is particularly typical of Klie. For an exhibition in Göttingen in 1976, he wrote a text about his etchings. With reference to a quote taken from Edgar Allen Poe’s “Berenice”, this text is concerned with the “inwardness of nervous interest”, the increased “capability for attention” in the “view of the most common things of the universe” and “not at all pleasant or delightful dreaming”.
In 1978, ”Liebestod” (“Death of Love”), a paper collage, was produced. His following paintings became more and more neutral, intellectual, hermetic. He was concerned with “getting away from emotional creating ”, his aim was the “consciously planned picture field”. For Klie, it was a decision of important consequences, to exclude “sensitiveness and inwardness” from his paintings and to work for an artistic result “without any subjectivity”.
In the following period, he often combined the technique of collage and oil painting as to be seen in “Science Fiction” (1979): the central picture, made of collages and composed in a rectangular manner, is surrounded by a structural base appearing cellular and wallpaper like, respectively seeming to float in the air in front of it. The organic and the constructive are opposed in contrast.
More and more he tended to create two levels in a picture: In front of a wallpaper like, sometimes serially structured background, singular textual and pictorial elements appeared, for example in “Negation” (1980), in “Blühendes“ (“Blossoming”, 1981) or in “Zwischen beiden Welten“ (“Between Both Worlds”, 1982), both already from the post-modern stage. The pictorial elements can be deciphered as objects, as symbols and as minute and precise in detail, as to be seen in his later works.