Line of Fire is a work that – alongside Burying Books and his activities on the city’s modern-day fortifications – clearly indicates Klaman’s fascination with land art. It is motivated by the need to react to the abandoned, but architecturally and historically valuable spaces in Gdańsk and stems from the act of discovering new, non-institutional spaces for art, testing the limits of what is possible in the absence of conditions for unrestricted action within the public space.
Klaman’s explorations sought to address the question of space in a way that would go beyond the dominant environmental aesthetics of the time. The northern part of Granary Island, today built up with residential buildings and hotels, was a gaping wound since the end of WWII, and the dramatic remains of the burnt granaries provided the backdrop to Klaman’s activities. The latter, not unlike projects carried out together with Kazimierz Kowalczyk on the modern-day fortifications in Gdańsk (drawings in the snow, drawings made of planks), were unlike anything else created in Poland at that time.