Graubner began experimenting with various modes of paint application in the late 1950s. Graubner dos not only attempt to liberate the color from the constricted representation of the object, but also from the constrictions of the stroke of the brush, by means of an arbitrary application of the paint that is detached from any kind of manual flow. In a sense of a homogenous color space, Graubner began to apply the paint with soaked cloth-covered canvas cushions instead of using the brush. As it is the case with this seemingly monochrome color space from the 1960s, Graubner declares the cushions to a work of art, as they seem to have largely realized the delimitation of the paint. Far more than the initially intended impressions of these sponges. By additionally spanning nylon gauze over the cushions, Graubner manages to enhance the coincidental progression of the paint to color compositions of an impressive depth and presence. [JS].