The rubbings translate sculptural reliefs and petroglyphs into drawings. By placing paper over a raised surface and rubbing it with a coloured pencil, he transfers the image of the relief onto a flat plane. The result follows the original composition while introducing small shifts caused by the process itself. The rubbing becomes both a reproduction of the sculpture and a separate work, situated between drawing and documentation. The series began with the petroglyphs, referring to the centuries-old practice of documenting carved stones and engraved surfaces through rubbings. Historically used to record inscriptions and reliefs, the technique allows an image to be transferred without altering the original object. Degeyter adopts this method to reproduce his own sculptures, extending his interest in archaeological records and the ways images survive beyond their original form. The process also relates to the frottages of Max Ernst, who developed the technique as an artistic method in the 1920s. Ernst used rubbings of textured surfaces to generate unexpected forms and images. Degeyter instead starts from existing compositions, transferring figures and scenes already present in his reliefs. The resulting drawings preserve these images while allowing the physical characteristics of the surface, including its wrinkles and irregularities, to enter the work.