Since the 1990s, Pia Fries developed a distinct approach to painting. For her often large scale painting, she works with oil and screen print on wood. Materiality of colour and the relationship of image to foundation play a superior role in her always non-representational, gestural and expressive works. Added to that is the at least virtual merging into space, a notion of continuity of the dense, relief-like streaks of paint beyond the borders of the support. The paint application itself is often of strong, relief-like plasticity, which is accomplished by the artist's almost sculptural, plastic treatment of the paint. The titles of her works usually have a cryptic character, but still with a hint of meaning without allowing the riddle of their statement to be solved. The artist has developed one of the most complex painting positions in a consistent manner, since her works are technically and formally as appealing and challenging as in regards to content. The virtuous mastery of aesthetic means correlates with her visual theory. Basically, Pia Fries arrives at a new, prevailing step in modern history of the search for the autonomous painting.