Photographs of nature (plants in particular) are altered by scratching off photographic emulsion of transparencies. This partial removal of the picture layer is intended to question the photograph's function as representational object and the notions of "nature" this function in its societal omnipresence promotes. Such a literally understood analysis of the picture building structure, the industrial product, is meant to furnish a particular kind of picture-ambiguity: the marks of the hand expose the technicality of the medium and at the same time they obscure it by the painterly effects they produce.
