This body of work started one day in summer, when a phonecall reached me, while I was printing in my darkroom a photo of a big white „Z“, painted on an old worn wall. In my Grey Area series I was going more and more into detail then. It was a call from Barbara Hitchcock, from the Polaroid-Collection and the negative in my enlarger was a polaroid-negative. She asked me to show my work, especially my flowers. So we started to trade prints for polaroid film and I continued my work on this theme.    

Aaron Siskind’s works had open-end my awareness for the human element of what we see and what is beneath the surface.  Instead of photographing „straight“, I began to interfere with my subject by altering through solarisation, casting shadows, decollage and overpainting. All this happened outside on the street, including the instant development of the negative, and it became a perfect counter-balance for my work as a professional photographer at that time.