The lines of a drawing are transferred, by means of a drill, onto an appropriate medium which may be paper or a wall, as a sequence of dots. While all you see is a series of dots, the eye joins them up into lines and then the lines up into a drawing. By seeing something that is not there, it overlooks what is there, in other words, the quality of the holes as injuries and penetrations.
However, if, in turn, the eye focuses on the holes as brutal interventions in the pure whiteness of the paper or the smooth wall, it loses sight of the drawing. It is difficult to see both simultaneously – what has been done (the drilling) and what is only imagined (the drawing). The impact of the image arises from the difference between what the viewer imagines and what the artist has done.
The holes are not always regular. Hinsberg works both with different diameters of holes which correspond to the different widths of her strokes, as well as with different degrees of density in the way she transposes lighter or darker lines. Even the contrasting characteristics of the front and reverse sides of her paper are brought to bear as the sheets of paper are turned over during the procedure, with the result that a temporal and spatial sequence is inscribed into the drawings. In this group of works the drilling becomes a process of drawing, one that is not drawn onto something but inscribed into it through and through. The process sets markers, which are, at the same time, empty spaces – and the images comes into view through these holes. Like the stars in the sky that ancient legends described as holes in the heavenly canopy .