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Rogers is the founder of the world’s most influential psychotherapeutic approach. He constantly encouraged people to trust their own perception and inner process, not to be afraid of the most personal things, but rather to reveal them – if possible in the context of empathic and appreciative accompaniment. If one succeeds in articulating the most personal, an emotional connection occurs.

Georg’s exhibits are radically personal. Audaciously candid. He zeroes in on the innermost aspects of – his own – life. His works show his equally daring and tender view of parents and siblings. He shows them very close, and in their looks himself. In doing so he is also very close to the viewer.

Art history needs a delimitation between art and the mundane and focuses on the art in the first place. Harold Garfinkel reverses the viewpoint and states that if one meets the mundane with the same attention as one meets the Kunstwollen, one recognizes that everyday life in coordination with others only succeeds through artful practices. They usually remain hidden as implicit knowledge in the behavioral practice.1 Georg directs the gaze to these artful ways of that accomplishment. He captures them and exaggerates them so that one becomes aware of them, can see them: The painting in the family photo. The style icon in the mother. The perfection of light in the snapshot. The petrifaction of the tenderly protected drum kit.