Ben Mathis was responsible for creating the grid and the MaJo Brothers for much of the figurative elements. Gears of different shapes and sizes are alternately distributed with robotic figures in the individual fields. Robotic arms seem to appear from windows, moved by a mechanism invisible to the viewer. The grid, kept in various shades of gray and white, sets clear accents with the intensive orange-red that is also used. On the phone, Ben explained to me when I asked that this color would provide a good contrast to the neighboring house and was used as such. 

If you look closely, you can see that in the transition area to house no. 19, the elements mix in some places, that there are subtle but well thought-out transitions to the neighboring house. Another way to show togetherness.
Ben Mathis has also added a few to ensure that there are not only figures from the MaJo Brothers romping around on the façade. These can be recognized by their more angular shape. 
Since the construction trailers in front of the house could not/were not allowed to be moved at the time of painting, they were included in the design without further ado. After all, no disturbing foreign bodies should be included in the pictures during the final photo session.

But why do you need construction trailers, I first asked myself and then Ben Mathis.
At that time these trailers were used as a kind of church. Among other things, contact with the residents should be maintained here. With coffee and sandwiches, the physical well-being was not neglected either.  As a visible sign, the Jesus portraits can be found on the front of these trailers. According to rumours, the figurative representation did not really appeal to the clergyman responsible. I haven't been able to research what exactly was wrong with these colorful Jesus pictures for almost 15 years now. Maybe the lamb's look doesn't really look innocent ;-).

For me, these trigger a touch of flower power feeling. Unfortunately, I'm still a bit too young for this time to have actively experienced it. But sometimes I regret not being able to experience this feeling live when I was younger. One of the reasons why I am so fascinated by the total work of art on the Kiefernstraße.

Krefeld, June 2021