[Ongoing]. In the context of a society that feels uncertain and defines itself by contrast –therefore lacks a solid foundation of its own; what is real is overly harsh, and we expect tender. Our actions would seem to indicate everything is disposable, and that nothing is truly measured by anything but immediate consequences. Our behavior is dictated by consumption, by a thirst to use up; the very same urge to photograph everything, and from every angle. And this thirst is self-devouring for a photographer, as photography makes for infinite possibilities in thriving to reinforce a reality that feels swallowed. The honest medium isn’t all that honest. Photographic seeing stands for a fragmented, discontinuous way of seeing; our –by no means– invisible montage of gaze. A bold contrast up against what seems to happen in between frames, as opposed to the subsequent causes and consequences of experience. Still, through this appropriation of reality, the photographic image does not have to live up to its counterpart reality, yet regains a significance of its own. Imagery is restless, it has no consumption waste. Depletion does not affect its value and nature, it just feeds a cycle –as contemporary a notion as it can be. We make images of images, reinterpret indisputably everything. It is not about beautiful or ugly, fake, real, meaningful, meaningless; it is about how we look at things, about a refined notion of meaning and how all that accounts for what is interesting in an image.