Every photograph is the result of a physical imprint transferred by light reflections onto a sensitive surface. The photograph is thus a type of icon, or visual likeness, which bears an indexical relationship to its object.

To convulse reality from within, to demonstrate it as fractured spacing, became the collective result of all that vast range of techniques to which surrealist photographers resorted and which they understood as producing the characteristics of the sign.

... photography is an imprint or transfer off the real; it is a photochemically processed trace causally connected to the thing in the world to which it refers in a manner parallel to fingerprints or footprints or the rings of water that cold glasses leave on tables. The photograph is thus generically distinct from painting or sculpture or drawing. On the family tree of images it is closer to palm prints, death masks, the Shroud of Turin, or the tracks of gulls on beaches.

Photographic cropping is always experienced as a rupture in the continuous fabric of reality.

No longer do we accept the 'sublimation model' according to which 'the function of art is to sublimate or transform experience, raising it from ordinary to extraordinary, from commonplace to unique, from low to high'.

Every photograph is the result of a physical imprint transferred by light reflections onto a sensitive surface. The photograph is thus a type of icon, or visual likeness, which bears an indexical relationship to its object.

More than a rejection or dissolution of the past, avant-garde originality is conceived as a literal origin, a beginning from ground zero, a birth.