"For me graphics are a language without words, a completely poetic language, with their own syntax, metrics, melody and rhythm. Pure, visual poetry because they don't contain any rational sense."

Drawings allow the artist a greater degree of spontaneity than painting or sculpture. What is expressed here can only be made visible through a drawing. Heinz Mack also appreciates the inner logic and discipline here, which can be made visible in a good drawing. That is why he once called his drawings "The grammar of my art": "I think that the lines join together into an energy field, to a structure, in which all parts, all elements stand to each other in a dissoluble connection and start swinging or even vibrating when we look at them sensitively, calmly and in abstract interest."

Drawings follow on as the language of the movements of Mack's hand, their impetus, their rhythm and more or less unconsciously his feelings: "Drawings are so to say seismographic diagrams of our inner arousal and emotions." A special affinity has the artist to those drawings which were destroyed in a disastrous fire: The many nude and portrait drawings from the years 1950 to 1954. This statement may be surprising because since his earliest years his whole works have been non figurative and abstract.

For Heinz Mack a graphic is, in a certain sense, a highly sensitive nervous system. At the same time his drawings have an inner relationship, a type of code of communication with the microcosm which is exclusively the subject of natural research and technology nowadays. That would be a new type of subjectivity, to make photographs visible through microscopes, but not visible with the naked eye. "It impresses me and remains a complete riddle to me that I have done drawings which can be mistaken for photos, which were developed many years later in the natural sciences and computer technology. I don't believe that this is only coincidence. I am also an artist of my time. It is only consequent when in the pastels the colours of the spectrum relate serenely to one another. White and black are their sum or their absence, absolute light and the darkness which excludes all else. The action in the surface and in the layers is effective without illusionism. A basic factor for this is a certain serial structure, a uniformity in the distribution of impulses which are of the same strength and are of the same distance to each other."

Franz Joseph van der Grinten noted in his foreword to the book "Mack - Zeichnungen, Pastelle, Tuschen":

"...paper is a neutral base. It can be the nothing of nothing or depending on the sky it can be space. Heinz Mack spreads upon it - pars pro toto - his world. It is also there where darkness reigns, an Apollonian. Clarity, balance and harmony are the things to which he tries to let his work, all his works mature into. A harmonic relationship between all the parts, the right proportions. That does not mean a damping down though; each part brings in its own force and attunes itself to the whole. The satisfied energy of each combines to the full sound of the whole. And it is truly something beautiful which the gaze of the artist beholds. In such a way his works are calm in themselves, but they do it with the vitality of upright posture..."