… Colour, although identical with form in the sense that it is in Concrete painting, is not merely the "irrational" surplus value of the formal system. On the contrary, it reinforces, weights and alters formal relationships. Thus regarded, it is not merely an auxiliary, nor does it simply confirm the hermeneutics of objective systems. Colour and form are made congruent not so much by means of rules as intuitively. Individualistic signs and personalized colour complement each other. In this, Diet Sayler is not obeying the dictates of primary colour. Instead, he is exploiting an entire range of gradations. Colour is manifest not as a finished tone but invariably as one that has evolved. Although tested on models, its impact when transfered to larger formats of "Bodies" cannot be fully calculated in advance. The impression of colour quantity and intensity seems to be linked with the manner of execution. A distinctive craftsman-like and pragmatic approach to painting – colour is applied to the support, be it canvas or wood, as a rule by means of either a brush, a spatula or a roller – encounters subtle shading in serveral layers. …

Joachim Heusinger von Waldegg
Karlsruhe, 1998
from Monograph "Diet Sayler", 1999