This piece of "found" terminology interests Walde because "in its similarity it uses the same strategy for solving problems as in bionics." (15)

This analogy shows across many of his works and beyond the NOFF (#1#2#3#4) series: "In fact there is a whole lot of my work that addresses packaging and [corresponding] strategies in nature" (16), says Walde. He sees packaging in its broadest sense as a form of seduction, as the outermost, most common skin of something that catches the eye. These strategies are of interest "not so much in a humanistic sense", more as an oppurtunity "for me to work in them with the best of pleasure and in almost alchemistic ways and ideas up to the point when what is thrown together no longer makes sense. Many times it is sheer anarchy." (17) Walde translates strategies of nature by "copying" them onto the intrinsic features, both structural and representational, of his individual works which latter seem to follow their own so to say "nature like" rules. Walde again neither follows a "humanistic" discourse of science and research nor does he aim at their "realism". Instead he creates exemplary parallels of a hybrid, artificial, abstract naturalness – as in "Nature's Own Flexible Facsimiles". A sort of artistic objectivity that in alchemistic terms could be described as kind of sphere, where the "obscure is replaced through the more obscure and the unknown through the more unknown." (18) This view is further developed and made visually comprehensible. "Then", says Walde, "there is a lot of room for projections of the psyche." (19) In NOFF #4, for example, the viewers respond to a rather rickety construction. The heating surfaces of two (household) irons are clamped against each other leaving a narrow gap through which are pulled almost endless lengths of tightly rolled, biliously green acrylic packing tape, causing the tape to curl into loose loops and thereby producing a steadily growing pile of green whorls. The pile potentially (and very soon in reality) grows to gigantic, even threatening proportions, particularly when production doesn't stop as planned for the current exhibition. This is another work in which, as in Tie or Untie, individual styles of viewers become apparent in this instance through handling and speed. Everyone who operates NOFF #4 has a somewhat different manner of performing the simple procedure. Differences such as these influence the work's visible process of natural growth, and result in traces which are then attenuated by the sheer volume of the work and at some point even vanish. Walde, who originally experimented with a hot hairdryer, continually changed the tools based on the audience's responses and suggestions. This too is a form of performative interaction, and in Walde's work by no means unique: The Handmates werealso refined in this manner.