The sketches are quick and intuitive. Speed is essential when making impulsive sketches. Due to this speed there is no time for deliberate thinking. Thinking gets no change to control the movement of the hand. This is when the surprises begin. A vast sea of sketches emerges from this spontaneous action, a vast reservoir of images and many latent concepts. The selected sketch for START evokes speed and eagerness. The concrete shows the subdued force of speed just before it is unleashed. The directness of the process of shaping the plastic concrete. START relies twice on a spontaneous sketch. One sketch is for the shape of the object, the other for the instantly drawing the texture of the plastic mass of the pigmented concrete. START captures the tension between two-dimensional and three-dimensional. The tension between being object and drawing at the same time · Between plasticity and clear-cut shape. START consists of a glass-reinforced polymeric concrete, throughly pigmented in the mass, the mould being smoothed with a C_trowel. START is a major representative of an immense series of shaped concrete slabs which form the basis for direct, quick and intuitive action. The actor’s emotions condensed in the sketches are never predefined. Rapid sketches make space for emotional change.