An engraving needle draws into the varnish on a massive 2 mm copper plate.
Ferric chloride etches into the drawing.
The varnish is removed from the plate.
Cleaned and polished copper plate
The artwork is fixed with an oxidation protection.
Detail of the artwork.
Exhibition INTO STUDIO in Eupen,  Belgien, Atelier Kaspar Hamacher.
The Artwork with chairs of Kaspar Hamacher.
Left: Each line one breath n° Paper 8, Right: Each line one breath n° Copper 1
Exhibition INTO STUDIO in Eupen, Belgium Kaspar Hamacher, Valentin Löllmann, Fabian von Spreckelsen, Tobias Schäfer, Damien Gernay, Maarten de Ceulaer.

An ode to the energy in the universe which manifests itself in rhythmic movements and moves like waves and dunes through the cosmos.

This is the first work of the new serie “each line one breath” on a 2 mm copper-plate.

EACH LINE ONE BREATH titles a limited edition of 50 freehand drawings of various materials, focusing on an artistic and graphic interpretation of evolution through the use of simple drawn lines. The edition starts from the premise that the initiation of any drawing, its fundamental prerequisite – a line – coincides with the most basic and transcendental state of life, the perception of breathing.
In extent, I abstain from any kind of redundant artistic strategies such as figuration or the social, political, economic or cultural meaning within the work. By only focusing on a scientific framework and context, I aspire to reach that very bottom of essentiality I am looking for.
Starting with a straight line, I draw each following sequence by copying the character of the previous. 
I concentrate on breathing and focus on drawing the successor. Again and once more. Again and again.
In the process of drawing, my lines evolve into a kind of logarithmic pattern and layering, steered merely by aberrances and anomalies of human failure in contrast to the precision of a machine.
The resulting artworks are reminiscent of a wave-motion-pattern transporting energy through space-time, such as any electromagnetic wave, or the pattern of a DNA-replication.
Lines and layers are like a primordial code or anatomic pattern assembling, arranging and composing the manifestation of energy and matter.
Lines are everywhere to find. In waves of sound and light, in water and dunes, growth rings and lines of trees, skin and stratum, tree formations in the forest, the falling rain, the grass luffing in the wind.
The consecutive synthesis of lines bedded next to each other depicts an allegory to the stratification of constant transmission and fusion of matter. 
Any kind of an existence to me is the materialized conclusion of these very basic forces.

The draw-whrite-act as a meditation in which the human-universe-executer and the observer will achieve a kind of inner-worldly transcendence. Shi Tao (Shih T’ao / Taochi) formulated the principle of one holistic brushstroke as a medium for the articulation of a non-dualistic cosmos.

The subject is not WHAT I create, but more THAT I create.”
“… When I draw, I draw the void. Not the line. I focus on the nothingness around the line.
It is a sort of meditation. My mind is clear. My focus is on the mere moment. 
There is only this one moment. Everything is still.
Never thoughts are louder and feelings profounder than in this moment.
My mind transcends into bare presence. Personality becomes formless and nameless. 
With each breath the emptiness is filled more and more. 
With every line I get closer to my origin…”

The central theme is the sunken origin of a cosmic-source and their key-intelligence patterns. It always leads him to the heart of the entropy from energy and matter. What is the unborn state and principle of a self-sustaining and universe? The archetypes of the creation itself.

I look for the origin. The archetypes of the creation itself, to reach the initial moment of creating.
What is the pattern and principle of a self-sustaining and universe, and the roll of humans in it?
What is mans artificiality? His nature and divinity?