As paradoxical as it sounds: Prior uses the power saw to "paint" three-dimensional images into real space and "brush" two-dimensional sculptures onto the flat screen with a brush. His unique entanglement of sculpture and painting culminates in his current oeuvre in monumental large formats and subtle interior formats as well as in panel paintings that expand into the real space in a color-energetic way.
Dr. Matthias Frehner, Kunstmuseum Bern
No matter whether in the exhibition space, in the studio or in public space - wherever the viewer encounters Klaus Prior's painterly and sculptural works, he sees himself exposed to a whirlwind of forces and emotions acting on him. This artist does not leave us cold. On the contrary, one has the impression that these works are almost intent on provoking lively reactions in us. The observed spectrum ranges from abrupt, inexorable rejection of such "grossly maiming, gloomy impositions" to the respect of these experienced as existential utterances figures. Christoph Bauer, Art Museum Singen
Whether the artist works on a sculpture, whether he paints, whether he draws: The traces of the work each speak of a great vehemence. No sketches precede the sculpture, on the contrary: the sketches themselves have a plastic character, as does painting. So if Prior processes the wood, he draws or paints directly with the chainsaw. Konrad Tobler, art historian