In his paintings on canvas and wooden doors, Johannes Lotz creates pictorial worlds populated by bizarre characters who are on their way to weird places on labyrinthine paths. Sometimes to a greater, sometimes to a lesser extent, they seem to be leading towards familiar fairy tales, whose stories, however, were broken by the narration’s fragmentation and a formal inconsistency and thus remain encrypted. Like the fairy tales bearing references to threatening worlds one can hardly fathom, Lotz’ pieces have a similar way of leading to fragile and ambivalent habitats that can also offer a profound reflexion on social mechanisms. Not only the topic of pictorial worlds but also their process of painting is reminiscent of procedures that we know from literature and paintings – among others from the circle of Surrealists. André Breton first and foremost coined the Écriture automatique, which strived for texts and pictures created without any control through reason. In a comparable manner, Lotz uses the power of physical processes with which he partly breaks the controlling perception of reality of the consciousness and then captures and forms the result in his paintings.