To free my treatment of line I tried different drawing techniques. One of them was lithography. The technical demands of lithography helped to create a distance and interrupt the familiarity of the drawing process. The challenge of this technique created a new and liberating sense of materiality, color, surface, line and form. Though the flow of the line was as before, the texture of the pencil mark was now replaced by the transforming texture of the crayon in lithography.

Hedda Gabler gave me new inspiration. Access to her text, her dialog and letters provoked in me a deeper connection with language, relationship and understanding of our surrounding world….without straining to significance, without using overt narrative, but subtlely serving as a vehicle for understanding of language, letters and the agreed structure and order of effective communication. This experience formed a new understanding and the basis for a revitalized and informed re-engagement with the drawing process.

The choreographer, William Forsythe, fascinated me with his historical references, with his relationship to ballet as structure and choreography as ‘embodied’ knowledge, particularly in his understanding and creative exploration of the grammar and language of physical movement in dance. In collaboration with the artists of Rhythm Section I absorbed an understanding of the different forms of rhythm, and after this long journey I came back to drawing; drawing, which articulates both perception and description through line, expressing thought content, form, composition, rhythm and color.

Hedda Gabler gave me the connection to text, Forsythe the connection to dance and Rhythm Section the rhythm the reconnection to drawing and the creative expressive use of line.

In 2015 Karin Wimmer wrote about my work in the catalog ‘Rhythm Method Volume II’ Stating in the publication ‘The inner necessity’, “Wenger uses writing, shapes and lines to convey a compositional statement about the image. She believes that these three components strike a balance between disorganization and form.”

The study of both film and film analysis brought me to another important development in my work, to the cult of ‘Zombies’. My work ‘Help alive inside’ forms a creative reference to the cultural phenomenon of Zombies. ‘Help alive inside’ acts here as a kind of codex. This work brings to the visual surface a mental (psychic) and psychological layer. This unconscious material is primarily what my drawings seek to convey to the viewer. My drawings were subsequently often referred to as ‘psychic abstractions’.

These visual and psychological references reflect on my intense and sometimes impulsive need for expression of compelling unconscious material which underlies the more rational analytical aspects of my creative practice. As a consequence of this necessary creative relationship between conscious and unconscious material, a process of construction and deconstruction is enacted. However, this material is always constrained and ordered in deference to compositional balance, to the order of facts, format, and the principles of coherent visual communication.

This complex conscious and unconscious relational material forms a tensile and dynamic visual manifestation of line and color. I seek to assimilate and fully express this complex exchange within the process of articulating line; through the intensive concentration and performance of selecting colour and forming the movement of the line, so that the full complexity of exchange is held within the drawing process.

Sometimes I need a compositional figure, a character, a person to form both a subject and as a vehicle through which I can consider personal relationships to the world; a person/persona who functions as a point of reference. This person, figure, character, will inevitably become subordinate to the internal formal logic and necessity of the drawing process. In the process of drawing, this image representation of the person will be destroyed to allow the deeper necessity of the emergent internal and formal logic of the line of the drawing to be primary driver in the composition. It is the narrative that initially causes me to draw. This cause, emanating from my interest in the writings of Hedda Gabler and the choreography of Forsythe, gives me, in a non-binding but still dependable way a means of connecting with a person, figure, character as the preliminary anchor point and focus for the direction of the drawing. As the drawing progresses this initial narrative way of drawing will be subsumed by the evolving drawing process of construction and deconstruction. From the compositional process arises an expressive articulation of line, that retains its strength from the initial source. The narrative part of the work will be submerged and subsumed within the drawing; to be precise: swallowed by the line.