I started drawing like a human seismograph from the passenger seat of a moving car, with my wife at the wheel. It was during a road trip across the United States in 2013. With the paper rolled around a tube, the images emerged as if printed by an inkjet printer, one horizontal line after another. While the roll of paper rotated on my lap, parallel to the spinning wheels, every bump in the road affected the flow of lines, making the drawings topographical maps of the journey itself.

Before crossing the North American continent, I had been searching for a way to break the constraints of linear hatching and cross-hatching. These techniques worked well for portraying depth but separated the background from the figure in an abrupt and undesirable manner. In the series of drawings I did leading up to the trip to the US I found a way. At first I drew caves and ripples on water, giving each line more and more individuality. The breakthrough came just as I began my third drawing. I started with a straight line from left to right, running from the edge of the paper horizontally towards the center. After running for a while, the line rose slightly and fell back down in a u-turn, forming the shape of an eye, and continued returning parallel with itself to the edge of the paper, just below where it had started. A new way of drawing was born, background and foreground had been united. Instead of lines acting as borders, separating inside from outside, I started stacking lines one by one. Every line with its own characteristic flow but still corresponding and relating to the previous line. In a seismic wave, drawing had come a step closer to sculpting.

After returning from our journey, I have continued utilizing this sculptural approach in my latest series of drawings. On the road I discovered a new kind of plasticity resembling phenomena found in nature, like the formations in stalactite caves and the growth rings found in trees. New shapes protrude the paper with an abundance of lines. Cross sections slice through hidden objects, leaving their paths on their surfaces, emphasizing three-dimensional spaces and breaking open new territory.