 This combines the acting out of a “visual story” during the creation of the work, with Bauhaus ideas of underlying structure.In Wiener’s later works it appears as his organic gesture of throwing, dripping and pouring paint, orchestrated between drawing and painting layers of geometric objects, in increasingly large scales, with a variety of objects that he considered “brushes”.However, on a more intimate scale, he drew incessantly, whether in his many sketchbooks or on iPad, across all media—the digital no less than traditional charcoal, graphite and ink—responding to all experiences of life, but notably the process histories revealed in the textures of pavements and walls of his beloved City, demonstrating the seemingly inexhaustible form resources of gestural marks.