Ina cut and paste society with information overload and digitallyaltered perception of the real, untied from photography's paralleltime and space based origins, assembling is representative for imageculture but also transcending. It reminds of texture and tactility,on reality and its possible rearrangement, experiencingsimultaneously multiple information at various levels and fromdisparate times and places. Non-linear and by changing scale,elements and their relation to each other allude to the personal andthe pervasive, between memories and visual anticipations of artificaland actual realities. Collages and assemblages of details of bodiesand natural objects in small handmade and lo-fi dioramas are broughtback to bidimensionality through photography, like simulacra thatbend restless and isolated fragments of multiple proveniences to afragile whole. Reflecting on the veracity of image making and imagetaking, these sceneries have been deposited at the intersection ofdifferent media as artifacts, expanding photographic concepts withstrategies of reappropriation and further authorshipon combined objets trouvés in analogically constructed sets, meltingtogether into a flux of new roots. Relying on the energy ofprobability, an assembly and construction by trial and error, thefinal purpose always remains the image, not as window or mirror, butas a threshold.