"The 'Still Lifes' are about the intense light—and the shadows—of Greece, the light perceived as almost tangible, dividing the space into zones of glowing, revealed light and those of concealment and blackening. The objects of study in the studio were the remnants of things found and accumulated on walks, objects that had once served as everyday items: tools, handles, knobs, lamps, chains, nets, stools, scales, weights, chisels, hooks, etc., all imbued with the fascination of history. The aim here, analogous to Goethe's words about colors as the deeds and sufferings of light, was to capture experiences and perceptions of the phenomena of the gradations between simple and bizarre forms, stripped bare by harsh light and dissolving in the transition to shadow. Shining into large, unarticulated forms in the light, the objects reveal features, structures, and details in the transition to grazing light, and degenerating into silhouettes in the shadow. This light also became a theme in later works; it is typical." Greek light, often sung about by poets, bright, clear

and especially in summer by the sea, of a purity that hurts the eyes, but allows unusual - for the Central European - distant views almost beyond the horizon."

- Herrfurth in a letter to his friend, the Berlin art historian Prof. Dr. Hubertus Lossow, around 1980