I started this work by putting together various frontal pictures of Lee Miller, shot by Man Ray during their time together from 1929 to 1932. I was familiar with each photo on its own but by putting them side by side I came to realize they all had a certain formal severity, and a tendency to repeat gestures. I find this eccentric, especially considering what defines Surrealist photography. I see a reflection on the left corner of Lee Miller’s pupils that seems to confirm my intuition: each and every picture has the exact same reflection, which lead to the hypothesis that each has ben shot in the same place, with the same lighting. This pushed me to overlap the pictures using the aforementioned reflection as a pinpoint around which faces from each photo stand almost still, unchanged, while the body appears more dynamic, uncertain. Through this juxtaposition I tried to make perceivable the idea of a palimpsest, that becomes the way we look at the past, our posthumous view.