of the surface of things I In my room, the world is beyond my understanding; But when I walk I see that it consists of three or four hills and a cloud. II From my balcony, I survey the yellow air, Reading where I have written, "The spring is like a belle undressing." III The gold tree is blue. The singer has pulled his cloak over his head. The moon is in the folds of the cloak. Wallace Stevens deep surface is an ongoing work, merging materials and ideas, dealing with possibilities of non-narrative narratives, not necessarily with a sequence and a straight fil rouge, but as research of alternatives to storytelling - a visual language that's simultaneously, more similar to an écriture automatique, giving a second, a third live to images - not necessarily my own. By refering also to strategies of reappropriation, shared and further authorship, to combined objets trouvés melting together into a flux of new roots, its reflecting on the idea of perception, on the veracity in image making and image taking and the intersection of different media as artifacts. In a cut and paste society with information overload and digitally altered perception of the real, assembling is representative for image culture but also transcending. Reality and its possible rearrangement, experiencing simultaneously multiple information at various levels and from disparate times and places. Non-linear and by changing scale, elements and their relation to each other allude to the personal and the pervasive, between memories and visual anticipations of artifical and actual realities, triggered, deformed and often unlikely like in memories relying on the energy of probability like in deja-vus an assembly and construction by trial and error, the final purpose remains the image, not as window or mirror, but as threshold. Not untied from the idea of photography as a parallel space-time-linked medium, it still reflects on veracity, on the complexness of realities, on representation and the parallel desire towards the tactile, organic and immaterial. Photography is linked to actions, incidental or generated, staged or spontaneous. Two diferent image making approaches are combined in deep surface. On one side the procedure of creating collages, almost sculptural creations of assembled materials - bodies, plants, fragments, shapes - instable and precarious, but with a tangibile and three dimensional pleasure of existence, of combining, reshaping, physically manipulating and then being rephotographed with diferent lightings, for keeping the trace of something palpable yet ephimeral, bringing it once again back to a bidimensional surface. Intertwined with images of found sceneries, they both are projection screens of imagination and deja-vu, a liminal threshold of associations. To whom may they belong next?