If the world consisted of only one thread, by carefully following its course we could observe the formation of things. Drawing leaves traces.
Sebastian Rug's drawings begin in small events somewhere on paper, take shape as process and slowly reveal their final configuration. During the drawing process, the artist's attention is focused on watching an unknown object emerge at the interface between pencil and paper. His 'landscape' traces the distance the artist has travelled.
Rug is currently working on interrelated micro-structures, expressing both the regularity and irregularity of textures in balanced proportions. The resulting formations are rich in detail but strikingly random. Rug's minutae evoke the diffusion of the artist's aims as the sole agent. The sense of order in his drawings is not imposed but forms itself rather than an image. The bounds of sight not only mark the limitations of perception, but they also signify the impossibility of technical reproduction. Rug questions 'the drawing' as such as a medium of reproduction and communication. The fibrous texture of a drawing, for example, responds to flaws in the paper and contributes clarity and intensity. It is likely to recur at random and can be reminiscent of an old piece of papyrus.
Sebastian Rug's drawings are self-referential and shun association. Similarities between the medium and what it expresses refer to a nexus of processes in drawing and nature. Microscopic and telescopic perspectives merge into a sphere beyond mankind, suggesting early or remnant forms of a forgotten world and phantoms of natural history, documented in the fragmentary records of an imaginative science in one approach to structural science - fiction