Photography's vaunted capture of a moment in time is the seizure and freezing of presence. It is the image of simultaneity, of the way that everything within a given space at a given moment is present to everything else; it is a declaration of the seamless integrity of the real.

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.

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

By exposing the multiplicity, the facticity, the repetition and stereotype at the heart of every aesthetic gesture, photography deconstructs the possibility of differentiating between the original and the copy. [Photography calls] into question the whole concept of the uniqueness of the art object, the originality of the author, the coherence of the oeuvre within which it was made, and the individuality of so-called self-expression.

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.

Here is a paradox. It would seem that there cannot be surrealism and photography, but only photography or surrealism.