1969. Together with George Baselitz, Emanuel Scharfenberg, Fritz Reuter, Gerson Fehrenbach and twelve other artists, Friedrich cofounded the gallery Grossgörschen. Due to the impact of World War II, he was an active member of German student movement 68er. His first piece, following his ideas focused on the field of painting was in the 1970s, leaving his successful career as an architect. His output during this first creative time is known as Total Abstraction. In 1994 he grounded Kunsthaus-Berlin, his first studio. Artistic process Generally, Friedrich attributes traditional mythology, operas, the Bible, and personal reflections as his main subjects and sources of inspiration. In his middle years, his inspiration came from mythology figures, such as the Odyssey. His later work a bronze sculpture called Placebo incorporates themes from Gilgamesh, historical king of the Sumerian city-state of Uruk, and the later Early Dynastic Period. Gilgamesh was worshiped as a god at various locations across Sumer which he combines with others motifs. Cosmogony and Faith are also a large focus in his works. In all, Friedrich searches for the meaning of existence and ″representation of the incomprehensible and the nonrepresentational in Faith, in believe that moves Human-being ″. Philosophy Friedrich values a spiritual connection with the materials he works with, extracting the spirit that already lives within [them], searching faith and belief that have conceived exceptional discoveries by Human-being. In doing so, he transforms his materials with binder and pigments, mixing manually, resulting in unique colours, among other processes. He often chooses materials for their alchemical properties- lead in particular. Friedrich´s initial attraction to lead arose when he had made new pieces of art. Eventually, he came to admire its physical and sensory qualities and began to discover more about its connection to Universe. Physically, Friedrich likes handling wood during the process and gathering when he sees many abstract forms, associates to the symbolic idea of a mythology. Friedrich takes viewers on a journey by fusing fact with fiction, recombining actual imagery into surrealist compositions imbued with engaging dynamism through his saturated colour palette and extraordinary juxtaposition of fantastical forms. Friedrich's art is an enticing journey full of mystery and enchantment, stating, " The surrounds must be taken, when we hit the stone from the existing mountain or paint on the canvas of our encompass, with all your will and strength, leaving behind your own tracks. Your plan...there is non! We plunge sometimes