I don't crop. Photography is like diamond cutting. If you miss you miss. There is no difference with painting. If you don't cut you have to accept the whole image. You wait until life is in the frame, then you have the permission to click. I like the adventure of waiting until the whole frame is full.

These things [cutting, cropping and shaping] always happen in strange ways. You can say after the fact what you're doing, but, believe me, you can't project it ahead. It has to be worked through before you can recognize what it was that you were looking for. It's a search; it's not like getting a brainstorm.. .It's work, yes; it comes out of the practice of painting, the practice of your art.

They say that the first form of grated technique was invented by Max Ernst and is considered originally as the surrealistic technique. This is not just an "inverted" variant of ink drawing (positive-negative) but a technique that speaks with a completely different visual language. Maybe I could say that this is in my personal opinion (!) above all a supple expressionistic technique, where the expression is extremely fine put/render through strong contrast and energetically (more or less) scratch of the scalpel on the ink-coated surface of paper or cardboard.

But somewhere [during the 1950's, in East-Germany at the Art Academy] along the way we all began to notice that there was something wrong. We saw a few art magazines from the West and got a sense of another world. We began to talk about a third way between capitalism and Communism in art. I saw the work of graphic designers from Poland, the only ones [in communist area] I came across who seemed to be doing something for society but in a style that was more modern.

Around 1950-51... I was finally getting away from the pictographs and looking for something... So it was necessary to find other forms, a different changed concept. So finally after a certain period of transition I hit on dividing the canvas into two parts, which then became like an imaginary landscape... What I was really trying to do when I got away from the pictographs was to make this notion of the kind of polarity clearer and more extreme. So the most extreme thing that I could think of doing at the time was dividing the canvas in half, make two big divisions and put something in the upper division and something in the lower section. So I painted that way... I would say roughly from 1952 to 56/57. About five years.

Hence SELECTION in photography, or at least in landscape and some other branches of work, often takes the place of what in painting becomes voluntary COMPOSITION.