Adam Kaspar has dedicated himself to landscape painting. Gradually replacing Romanticism-influenced, Friedrichian mountain and forest views by realism in the sense of taking interest in the depicted object itself in combination with an interest in natural sciences. When speaking of realism, he refers to biological realism stemming from the biological essence of painting as a medium. Kaspar strives for a painting style that is realistic in depicting the subject while also being in harmony with the natural flow of the human consciousness, its upswings and falls. 
Two major domains have arisen in Kaspar’s work in the last couple of years. The first one is an interest in the structure of the Earth, its parts and the whole – he studies geology, a science uncovering the depths of time and searching for causalities within the anatomy of the Earth’s enormous body – presenting stories – narrating of times and forces so unimaginable (and yet so present – in the grit on a road or the facing of a neighbor's house) that most ancient mythology stays behind. Paintings based on these grounds present great studies of rock folding, veins and cracks, that is, structures that carry an inscription of their dynamic history. The second domain of his work is an interest in natural woods and forests, discovering them, exploring them and documenting them in painting. This mostly involves en plain air paintings of smaller formats.
The core of all his work is faith in Earth as a living being in all possible interpretations of such a statement – in this way he fully agrees with Lovelock as well as the renaissance thinkers, dreamers, romantics and ancient myths.

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