More than anything else, this exhibition is a reaction and a response to an undiscovered and unfinished material that is now being made available. The exhibition, which shows drawings in pencil and ballpoint pen, marker and colored chalk, as well as gouaches, collages, sketchbooks and textile fragments, has something of the sketchy and energy-dense quality that lives in the material itself. Quirky and humorous, the colour-saturated drawings bear witness to spontaneous thought processes, a happy desire to experiment and a moving intellect. In other words, the paper material can contribute to a new and greater understanding of this important Norwegian artistry.

A connection between text and textile is created by the fact that fragments of poems and text are integrated into several of the drawings and sketches. This indicates how poetry has functioned as a driving force and an inspiration for Synnøve Anker Aurdal in her thought work towards the large textile productions. Hans-Jakob Brun writes, "Fragments of poems and texts are important components of almost all her pictures - she is a real abstract artist in the sense that she makes visible something as abstract as poetic thoughts in her pictures."

The material has been introduced to Kunstnernes Hus through the artists Siri Anker Aurdal, Synnøve Anker Aurdal's daughter, and Victor Boullet. In the exhibition In These Great Times (Kunstnernes Hus, 21 February – 27 April 2014) the linked sketches and drawings were part of Boullet's installation "The Harrow, the Sparrow, the Sorrow" (2014).