“A man may keep away from everybody, but he can’t get away from himself.”

Worringer has devoted several works to this quote from Buster Keaton on his role in Samuel Beckett’s film Film. They reveal his notion of the human condition, of aesthesis. He observes and makes use of the self in his art. Worringer studies the concept of self-presentation as a human effort. Yet, the self as protagonist, subject, or figure isn’t the motif in his art. Rather, it’s his own perception. By observing the images of the self, the artist shifts from being the subject to the object. The number of self-portraits that aren’t self-portraits destroys the laboriously synthesized idea of the Lacanian self. With his self-portraits Worringer reveals the identity of the self as an invention, the concept of self-presentation as an effort to control the impression of a real or even fictional counterpart. The many self-portraits, therefore, must be understood to represent a process of self-objectification. Worringer’s self-objectification goes back to George Herbert Mead, and makes it possible to take in an infinite number of standpoints via deconstruction, to perceive them in a “polyfocal” way. From then on, you discover in Worringer’s works of art formations of the perception thus deconstructed. Exposing the self serves Worringer as a means. It forces the observer to take an attitude of open-mindedness and “motion,” without which he cannot experience Worrigner’s paintings, among other things.