disarranged by blurring or suddenly appearing  barriers the view from both eyes dissolves such barriers. The brain works these out so that in driving past a three-dimensional object constitutes  in the conscious- ness  which in addition is guided by intent thus cognitive interest. This vision onto the torrents, the gravel and the abysses of a mountainous region probes the landscape and sets priorities  which are captured by drawing.

2. The plasticity of the mountain streams
A glance onto the sheets which fixate the fleetingness of passing shows the time events as a spatial construct that has been concentrated on one sheet by the focussing of the sight of the artist. At closer study of the sheets one sees vertical and diagonal lines as well as line bundles which  by energetic horizontal lines have been cut into, made thicker and gradated. These cross traverses with their interlaces create the impression of steps, cascades or thresholds and make visible the interruptions in streaming down of water, debris and mud. This is the crux of the matter here: it is about the question how the depletion of material from the mountains goes about or - seen geologically - how mountains become lowland.

The continuously acting gravitation has its cycles with the change of weather, the seasons and the geological era. But that is not yet it. The graduation of the activity corresponds with the ductile characters of the materials. Tree trunks rafted down the valley put themselves crosswise in a chasm, stronger branches and twigs ensnarl them- selves at cascades and the whirlpools acting there collect small material with which the hollow spaces of these natural barrages are plugged, where stones, rock pieces, further branches and twigs and brushwood get caught. These networks can indeed not stop erosion but they slow down ('bremsen') the slide of material.

3. To draw like erosion acts
At these spots nature hurried ahead of the drawer and formed slubs by downward movements which conform with the scribbled knots within the vertical lines. The quality of these works is the interweavement of
the different materials to a network of emblems and the creation of form connected with this. This direct approach to the material also is opposed to many positions in landscape art nowadays that plays with material and form but leaves the viewer in doubts what is nature and what is made by human hands. Most of the time it is ironically taking distance scrounging on what is already pictured to reproduce and to enhance with new surfaces. Schlafke instead forms temporal courses with direct means of drawing. She chooses the analogy of processes in nature with processes of art work. This is what I want to talk about by trying to follow the relationship between dynamics of the drawing process and those of the erosion in the high mountains. Cohered with this is also the question why it makes sense to capture these in drawing without the engagement of means of high-tech.1

a) Why drawing has an advantage over photography
What a photograph is taken from inside a driving car one gets an aperture form the movement continuum with a short exposure. Is the exposure longer the photograph will be blurred what certainly has aesthetic attraction and therefor has been cultivated by zooming, tracking, driving up and similar technics of taking pictures in move- ment photography. But in spite of all perfection that has been achieved in photography it remains limited because the camera has one lens only. I do not want to speak about stereo photography now because it is complex and especially cumbersome to look at. Fact is that a human being with both his eyes can look through brushwood better than a camera, especially when he is moving. Because then things in the foreground scurry by whilst those more distant slide only languidly. If one tries to constitute by drawing this phenomenon from moving along an object or a landscape detail a three-dimensional figure forms that Umberto Boccioni already recognized in his manifesto about the three-dimensional figure. To capture this complexity the human senses, that are allied in a special way with the form-giving abilities of hands, are still second to none even if they have few fans and even less advocates  because the development of machines promises higher profits than the training of human 
more pictures of the installation                                      Vernissage

1 Here it is about the expenses - and measured at this  the feasibility of drawings  has not yet been exhausted. Therefor Horst Bredekamp challenges that the hand drawing because of the 'unueberrgbare[n] Komplexitaet und Dynamik' (non-transferable comple- xity and dynamics) will ever be completely replaced by digital technology."Denkende HŠnde. †berlegungen zur Bildkunst der Naturwissenschaft," in: RŠume fźr Zeichnung. (Thinking hands. Thoughts about image art of natural sciences, in: Rooms of drawing) Akademie der Kuenste (academy for fine arts) Berlin 2006, pages 21-24
Supported by the cultural department of Freie und Hansestadt Hamburg and district office Wandsbek