Drawings from the Phantastisches Stilleben (Fantastic Still-Life) series adopt industrial drawing techniques whilst referencing 20th century artists, including Paul Klee, Jean Arp, de Chirico, and Max Ernst. They highlight Schranzer’s use of an ascetic, ‘architectural’ line that questions the belief that the ‘expressive mark’ is drawing’s quintessence. Joe Frost (Drawings: Kurt Schranzer & Tony Tuckson) speaks of Schranzer’s approach as epitomizing drawing as a controlled process whilst still having a regard for beauty and psychological effect, and as Christopher Dean writes in The Speculum of the Other Man, Schranzer’s formal line work is both scientific and fetishistic, constituting “a boys own journey into modernism.” His use of anatomical, maritime and bird motifs (including Ernst’s Loplop) elaborate on themes of masculinity, self-identity, and sexual and psychic freedom: an exploration deeply felt and expressed, with both psychoanalytic and erotic elements.