b'Windows onto the InfiniteArp and P. O. Runge, all of whom believed in the possibility and importance of comprehending the world in more holistic and even pantheistic ways, and com-municating this through their art. Klee and Arp, in particular, also believed in the productive qualities of experimentation and chance. This is also an aspect of Margots creative worldview: I dont like things that are entrenched therefore I never proceed in the same way. Meaning that I never start at the same place. And I try to change my way of doing things frequently. I like when things are flowing and so then the cre-ations come about naturally. If theres a block, then its not the right time. When I buy my material, I change paper and ink regularly. This enables me to adapt to new materials and to be surprised. I have also mixed different techniques, oil paint and ink, stitching, but also collage. I sometimes mistreat my paper, my drawing. I dont always want to consider my drawing as a fragile thing. The working environment is tremendously important. Her current workshop, which is situated in her grandparents old house, up a flight of stairs and through another room, provides a mixture of familiarity, solitude, and a feeling of protect-edness. I like working high up, she muses, I am between the sky and the Earth. Few people come to the workshop. I need peace and quiet. I even think I need to feel that there is no presence around me. I mustnt hear any noise. There must-nt be any interference. It happens regularly that I make a vow to find myself in a place for several months without any obligations and to draw all the time. I asked Margot whether she has a clear sense of the meaning of individual works? She told me that, Generally speaking I dont have the meaning at the beginning. Its in the course of working on a drawing that I begin to under-stand, and often sometime after its creation. Each time I exhibit a work I dis-cover something new about it. The act of drawing is constant motion. Like ideas, drawing is never fixed. Artists, of course, are also always spectators, both during the construction of a work and after its completion. Margot is no differ-ent. Perhaps because each completed work is in some way a surprise to her, 18'