In art-historical research, it is common that each artist will assign their work to certain periods, and categorise them according to specific stylistic features. In the case of German artist Lisnoir, however, this is not really possible. Lisnoir’s motto – ‘art knows no limits’ – is reflected in the diversity of all of his work. His activities cover both the fields of painting, sculpture and photography, as well as object and installation art, fully drawing out the creative talent of his wide range: instead of taking pre-existing ideas ‘out of the reservoir’ and trying to imitate them, he creates by responding, combining and re-interpreting his own style, which is specifically defined in every collection. The individuality of each piece is supported by the use of quality, internationally fabricated colours and a wide palette, as well as the use of surface mounted applications, which are characterised by their exclusivity: semi-precious stones such as jade, turquoise and tiger’s eye and genuine natural pearls or milanolglas being just a few examples of the repertoire, from which the artist chose while creating his works. Despite the diversity of his design possibilities, Lisnoir always strives for utmost perfection; he strongly rejects the idea of specialising in just one technique. As creativity and innovation are not tied to any particular medium, he tolerates no restrictions on his work. His art is not the product of an automated artisanal process, but rather exceeds the limits of popular living culture of the Scandinavian Allerleis. Through this he separates himself from the pseudo-individualism of mass-consumer society, while at the same his works give the observer the opportunity of uninfluenced self-discovery with regards to their own taste by merely viewing the object. The fact that the focus of the artist lies free from barriers and consideration of political, religious and socio-cultural backgrounds shows the collaboration with internationally rooted residents, interns and fellow artists. Lisnoir also brings his art, in the context of school projects, into contact with young people – it is a great strive of his to always be present as a contact. As – in his own words – ‘artists are to tacke’, the doors of his studio are open at any time to visitors, creating a free and friendly atmosphere, which is reflected in the beauty and joy of his works. The artist strongly opposes a market-orientated competitiveness – so that the reservoir of artistic potential knows no bounds, he strives for a peaceful coexistence of creative ideas.