Peter Ruehle's works stand out in the painting world. A clear descriptive language, and technical precision meet in a balance of mimesis, fiction, and abstraction, using little to express much, creating weight through selective reduction. In his paintings, primary whites and light grays touch a horizon of vivid colors just above the lower one-third of the images. There's no begging, no screaming, nothing provocative, no trendiness, no decoration. Instead, Ruehle virtuously presents his determined serial concept in a stringent, yet variable form.

With his reduced Landscapes, Peter Ruehle visualised early on how a specific landscape is always perceived as relative. Painted more in a more realistic manner at first, his sceneries tend to be more compressed towards a horizon in his later works, all without losing their specific aspects. In his search for form and nature of nature, Ruehle transforms the significance of subtle tones for each visualised landscape by accentuating these tones to be the main carriers of atmosphere and individual recognizability.

Eventually, the new series of half-realistic, half visionary cityviews appear as the essence of the previous developments. This highly evolved concept is transferred over to motifs of cities, broaching the issue of urban life and its inherent large-scale socialization, its mechanisms and structures. Each depicted city may have buildings easy to identify, but upon closer examination, it does not become more familiar: well known sites, visual axes, distances are changed, other buildings and industrial complexes appear out of place. Watercourses, bridges, parks and green spaces enhance well known places. By adding architectural embellishments from other contexts, a synthetic, visionary location comes into existence, a location that, again, can be explored only in the imagination of the viewer.

All along, the painter includes subtle hints of his own biography. The fact that he does so without boring the viewer by taking himself too seriously, is unusual enough. He rather interacts with the viewer, and offers room for abstraction with images free of haze. Ruehle's paintings are prototypes, ready to be charged by the viewer himself. If one is willing to do so, Ruehle's works unfold their highly individual powers and allow stepping over into a brave new world.