In her new and ongoing body of work, Pätzold explores the desire to free one's head from thoughts through the rhythm of walking. Her lyrical images lean against Rebecca Solnit's remarks that "walking itself is the intentional act closest to the unwilled rhythms of the body, to breathing and the beating of the heart". The rhythm of walking has been used in society as a form of meditation in order to free one's mind or even to find a more mindful state.
The poetic narrative of the project unfolds through the combination of long exposure and the capturing of Pätzold's strides in the Surrey landscape. The work has been made solely
during what has become known as the blue hour, almost night. Shot on a digital full frame camera, these images act as a reminder for the viewer that the initial exposure is something intangible, similar to one's thoughts or memory. Yet, the physical image creates a flux and stands as a reminder that one's movement of the mind cannot be traced whereas the movement of the feet can.
The photographs are usually exhibited large scale making the spectator feel as though they become part of the eerie scene, inviting them to be absorbed in the mysticism of the image.