Gilbert Garcin shrinks himself into the photograph. On the cover of his monograph, Simulacres, the artist wrestles with brackets as tall as he is. There is no text to be bracketed, however, only his own image cut out and collaged. Garcin's imagery reflects the ethos of his birth during the emergence of pyschoanalysis and surrealism. In these collages, Garcin walks through dream-like montages of signs. He appears as an image, as paper cutouts of himself. This image represents the recurring nightmare in which each time we are photographed we lose a part of ourselves to the world and its interlocking surveillances. An absurd parody in which signs are treated as objects, Garcin illuminates the idea that photography is a language, a visual lexicon made up of signs and symbols in which we only recognize what we already know.