"It is as if every piece of paper that came into Sterenshuss's hands compelled him to action. He drew, scribbled, made corrections or additions without thinking, on letter paper, newspapers, and even on his daughter Hagit's drawings, as though he preferred "experienced" and track-marked paper to a blank white page. Many of his drawings have a scribble-like character, and some of them are more worked on. They were done with all the known means of drawing, and Sterenshuss even created means of drawing of his own.

Like the sculptures, Sterenshuss's drawings also revolve around human and animal figures. But despite the thematic affinity between his drawings and his sculptures, the manner is essentially different. In many of his drawings there is a sense of nerrative - a kind of story that he told only to himself; the story remains unknown even when the drawing includes a (deliberatly?) illigible hand written text. In one group of drawings the Hebrew Bible served as a declared literary source - these drawings however, are not illustrative in character.

Most surprising both in quantity and character is the group of erotic drawings, which constitutes an illuminating basis for the relatively many images of couples in Sterenshuss's sculptural oeuvre."

 

From the introduction of the book "Moshe Sterenshuss: Volumes and Lines (Irith Hadar, Tel Aviv Museum of Art, 2001) 

 

"Moshe Sterenshuss, who was known mainly as a sculptor, was also an excellent draftsman. He cannot be understood as a sculptor without relating to his paintings and drawings. His paintings and drawings - apart from the preliminary drawings for the sculptures - gave expression to his other side - the introverted, libidinous side. His numerous paintings were kind of intimate personal diary, which very few were privileged to see."

 

From the chapter "Memories" by Ruth Zarfati - Sternshuss, from the book "Moshe Sterenshuss: Volumes and lines (Irith Hadar, Tel Aviv Museum of Art, 2001)