First, Ivo Ringe sets the background colour of the painting, that often appears to be monochromatic, but in reality consists of a multitude of differing colour nuances that overlap one another.

'It is not unusual for a supposedly black surface to emerge from the laying of many shades of dark blue and violet. In the case of white, there are often up to six different layers of white superimposed on each other.'

These colours are the result of Ringe's mixtures of powder pigments. He then sets orientation points on the canvas, which he connects with brush strokes to create a net-like structure. The position of these points is based on classical proportions of beauty, as they were formulated in antiquity. 

Ringe uses the Golden Ratio, but also works with proportions from other culture's ideals of beauty, such as those from ancient Sanskrit texts. These net-like formations sometimes reach beyond the border of the painting, appearing to be without beginning or end. The structures are reminiscent of those occurring in the formation of crystals and other structures in nature. His works manifest – as in nature – from preliminary fundamentals and phenomenon which occur in the act of painting.

In 1972  he began studying sculpture at the Kunstakademie Düsseldorf (Düsseldorf Art Academy) under the instruction of professor Joseph Beuys. Ringe belongs to the Minimal Art tendency of Beuys - students such as Imi Knoebel and Blinky Palermo. In 1974 he modified the focus of this study and became scholar of professor Rolf Sackenheim and devoted himself to the study of graphic arts. In 1977 he was awarded “Master scholar” (Meisterschüler) by Rolf Sackenheim.

Ring now lives and works from his studio in Cologne, Germany.