K.R.H. Sonderborg belongs to a generation of artists who successfully fought to reclaim their artistic freedoms after the severe cuts of the Third Reich. In his 1965 composition "Composition, on Franz Kafka's 'Amerika'" it becomes clear how highly Sonderborg values the genre of drawing. He uses Japanese ink pen and brush with black ink on absorbent paper, creating moving figurations in which power comes to light as immediate action. Like an energetic scaffolding, reminiscent of construction cranes, or calligraphic settings from the Far East, these appear and achieve a creative openness that can hardly be bound to artistic rules. As in all his monochrome ink works, Sonderborg devotes himself to his main themes, the suggestion of dynamics, rhythmization and structuring of surfaces through signs and graphic elements. This form, in his opinion, is the most ideal to adequately appreciate the unfolding of energy, the dynamics of the line as well as the spontaneity of the realization. Because of its high artistic freedom in execution and its own rhythm, Sonderborg's work is one of the most outstanding works and stands as a tribute to the elemental power of gesture and form. The title refers to Franz Kafka's unfinished novel, America. Sonderborg's print captures the mood of what is arguably the most hopeful and narratively dynamic work by the writer known for his disillusioning works.