Worringer’s ideal notion of art grows when he works with the qualities that make up material, paint, ground, paper, the cardboard for models, the surfaces of his subject, light and shine, ideas and thoughts. In this exploration Worringer has appropriated knowledge that frees him from capital- and technology-driven processes, as Richard Sennett would see it. Worringer therefore devotes himself to the medium of painting, although it’s been declared dead several times, picking up on its continuing threads of a history of experiences. Yet, he doesn’t seek perfection in craftsmanship as a purpose in and of itself. Rather, he uses handiwork as an artistic means of expression. For Worringer, the process of creation is, at the same time, an attitude that reflects an awareness of materials, resources, abilities, and the factor of time. Because people shape society in the same way that they work. Hannah Arendt expressed this attitude in the term Natalität, or natality. As a worker, maker, and actor, Worringer’s body of work corresponds to his existence as a human being of his generation.