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A "cut-painting" is always composed of three layers. The first and thus hindmost layer is mostly a quadratic painting in the final size of the cut-painting. The second and third layer are not as easy to distinguish, as, deep-seated within the system of "cut-paintings", they need to be made up of two basically equivalent, rectangular paintings of the same size, which are usually cut into eleven arrays, interlaced into a quadratic, new and in its expressiveness potentiated overall picture. While plaiting 11x11 arrays, hundred quadratic spaces between emerge. As a result, the first layer becomes visible and is equally integrated into the composition. In this connection, hundred does not only stand for the great round lot, the fulfillment and the "ideal good", but also for the nonchalance of this number, where hundred historically bears a lot of meaning and yet does not necessarily always mean exactly hundred.

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