In the artist's words:

Hans Aichinger's works are filled with concentration: on the one hand, the concentration he applies when painting the figures, which are rendered with a high degree of precision, and even more so in the mental tension that the figures themselves make us feel when they pause. This concentration does not allow their subject to be recognized; it lies outside the picture frame, without reference, in the open. Aichinger thus creates a balance between figuration and abstraction and balances the legibility of the images between possible and impossible.
The figures are role-players on a minimalist stage, not portraits; they are predominantly soloists without concrete counterparts - but with counter-stands, or opposing stands: a wooden stick, stuffed animals, pebbles, toys or, even more reduced, with a physical gesture - as an expression of inner compression. And they are predominantly adolescents, still on the way to accepting their own appearance, with naïve self-assurance and open to whatever comes next. The background and space are also strangely indeterminate and speechless. In medium format, the figures are almost life-size, almost at eye level with the viewer.
The ambivalence of work titles such as "Diminishing Light" or "Unrest" has a concrete and an indeterminate side; this is where the works begin to assert their idiosyncratic abstraction. The openness, the unpredictable "taking shape" - of the protagonists on the one hand, but above all of the pictorial content - is representational and abstract at the same time. This suspicion is supported by Aichinger's attention to detail, which goes beyond all realism and begins to dissolve the form. These detail-obsessed, almost microscopically alienating elements have no superficial meaning, yet they direct perception. In this way, abstraction enters the work in a roundabout way. Aichinger comes astonishingly close to his inclination towards non-representational, idealistic images - albeit from an unexpected direction.