Since 1974, Peter Dreher has painted over 2,000 canvases in the “Tag um Tag guter Tag (Day by Day good Day)” series, showing an empty glass on a white table before a white background. Relations such as light, distances between glass, easel, lamp, and the eye of the painter are always the same. In the past 35 years no painting was corrected, painted twice, or taken out. “Day by Day good Day” is a Zen-Buddhist sentence stating that everything is of the same meaning or importance.
“I try to paint a glass in total restraint of any personal involvement, without a flicker of emotion, each one being new. In any observation of reality, no one painting is exactly like the one before, similar to an industrial product, but original within a series, without uniqueness, without “stoke of genius.” Concentrating on painting, by painting only one motif without changing it. Each painting is an interchangeable component of the mass. Developing itself like nature does as a tree: one leaf shows it type, three leaves show similarities and differences, one branch shows the result of a lifetime. It is not enough to just have the idea of painting 2,000 similar paintings, to express the idea of a project like “Day by Day good Day,” you must do it – and this project has no end.”
— Peter Dreher, 1994
In the book, Peter Dreher – Tag um Tag guter Tag published in 2008 in Germany, gallery owner Cai Wagner discusses his impressions of Dreher and his work:
“In my mind, this seemingly unique combination of Peter Dreher’s – a clear serial concept and a convincing painterly representation – differentiates his work from artists such as Opalka, On Kawara and Darboven; they rather push it in the direction of Morandi. This mixture makes Dreher’s work truly great, something which defies time modes and –isms.