To draw the connection between each single work of Reichert, he comes to the conclusion that his intention is to relate geometric abstraction, the depiction of the process and its materiality.The process and its visible marks are the foundation of the final work and therefore the used material becomes elementary to the concept.
Different treatment of the surface and multilayering lead to new structures, surface conditions and colors, which couldn't be reached without going through these painterly mechanisms.During its development Reichert glues the raw canvas quite often on the floor to catch traces of prior paintings and to relate every single work to a much wider comprehensive ongoing process.
Besides the actual paintings the most essential point of creating his works are the three-dimensional objects he builds, which are most of the time not intentionally meant to be sculptures, they are tools within the painting process.The paintings and the three-dimensional structures are intrinsically tied to each other.
The works refer to shapes, outlines and signs he has seen before but they are always in response to the surface and previous layers. This stylistic language is drawn from the 20th century's architecture, aspects of popular culture, programming, design and art. But there is no imitation or direct reference. It is a much more complex and subtle relationship, which is very often not retraceable.