Hesse’s studio during her stay in Germany was in an abandoned textile factory, strewn with remnants of cord and old machinery. She began to draw these machine parts, subtly transforming them from industrial objects into organic, quasi-anatomical shapes. Although some remain quirky and machine-like, others develop a more lyrical, erotic quality.
In March 1965, Hesse described these drawings to her friend, the artist Sol LeWitt, as:
clean, clear - but crazy like machines, forms larger and bolder, articulately described. So it is weird. They become real nonsense.