In the early 1980s, Salzburg-based freelance photographer Werner Schnelle worked exclusively with large-format Polaroid cameras. His working method encompasses both individual images and specific sequences.
In the series »Der korrosive Blick«, Schnelle uses the Polaroid in a quasi-documentary way, as a search for traces of something that has been there. »Machines of Speed« deals particularly forcefully with a visual machine (camera) that contains speed in a certain way: Waste and found objects of a society that is in a dromological frenzy. In »mise en image« a media-reflexive moment becomes recognizable; namely in a double exposure of a wired person whose existence depends on this »cable« in an existentialist sense.
from: Carl Aigner, FOTOHOF Info, issue 3+4/1987