The nine artworks are arranged in a deliberate order, in which the purely aesthetic compositions, attention captivating an easy to look at, are exhibited first. Then, the more surrealist influenced compositions are introduced gradually into the body of work. The opening artwork, titled Sunset at the Sheikh Zayed Grand Mosque Series, is a series composed of three photographs that aim to create a purely aesthetic composition through light, and the colors which are born out of it. Similar to the Sunset at the SZGM Series, Chromatic Contours and Lienzo (Canvas) are series of photographs that capture solid color palettes, yet additionally focus on abstracting shapes from their real-world context. Both subtly introduce hints of what is to come. The flipped repetition of the photos in Chromatic Contours slightly discomfort the viewer who, tries to place what they see in a real work context; however, it is not so simple to do, and a feeling of uncertainty is introduced into the exhibition. El Lienzo (Canvas) not only becomes an abstraction of chromatic aesthetics, but works as a catalyst for the viewer’s subconscious to transform the unpredictable lines and patterns of rock and water into something. The artwork Borderlines works in the same way, as it could be a composition showing the elements of shape and color, yet it is not entirely abstract. As the title suggests, the function of the photograph dangles between serving different purposes. The Big Lie works as a transition from aesthetics to incorporate poetic strategies. The photograph aimed to achieve a pleasing, monochromatic aesthetic of gunmetal-blue. Yet its main purpose, is to implement contradiction as a poetic strategy, inspired in the surreal artist René Magritte. The elements in the composition and even the title work as contradictions that aim to unsettle and create discomfort. Anomalía (Anomaly) carries on with the use of poetic strategies, using the play of opposites to visually describe the eerie sensations of a sunset. A Tribute to De Chirico Series completes the transition to surrealism as from that point onwards, the remainder of the artworks focus on capturing surreal scenes. The four photographs capture the same scene, yet vary in color, quality and focus. The singled photograph on the left is chosen as the final artwork, as the dullness of its background and completely solid color abolish detail, and the composition is reminiscent of a painting rather than a photograph. The series next to it serves as a comparison for the audience to realize these subtle changes. The Blame and Disrupted Continuity (A Tribute to Magritte) both aim to achieve oneiric, eerie atmospheres. The Blame does so by raising questions rather than answering them; why is the tree signaled so significant? Is it even significant? Is it actually obstructing view, and something is hidden behind it? While Disrupted Continuity (A Tribute to Magritte) captures an ordinary moment which turns surreal when looked at from the right perspective.

The spontaneous emergence of a composition in a photograph reminds me of Surrealist automatism, as in both techniques of creation, conscious control is suppressed in favor of a more intuitive approach to creation, where results can often be unpredictable and surprising. The place and time in which the photographs were took was sometimes planned, and sometimes was not, yet the results were always surprising and often unexpected. Thus, each artwork achieves uniqueness and intrinsic value.