In the mid-1950s Hann Trier, who had been retrained as a right-handed artist, became aware that the use of only one hand, accompanied by gestural impulses, could only ever bring in half of the body. Thus he arrives at working with two arms/hands and at the typical structures characterized by an axis of symmetry. After all, when dancing, a person does not hop on only one leg. Dancing, triggered in particular by his stay in Colombia from 1952 to 1955, became an important impulse for liberation for him. Hann Trier: "I wanted to give in to the impulse of these dances and dance with the brush on the surface like them".
From the end of the 1950s, the lines move on the same plane with the painting surface. From this develops the interweaving of gestural movement (line), painting ground (space) and color substance (matter) so typical of Trier's work. Matter and movement become identical and movement transforms matter.