As a painter my engagement with the medium of photography is rudimentary. After all, the scanograph is laughably simplistic, the twenty-first-century equivalent of the photogram. If the optical scanner holds my attention, it is because it promises a pure, straightforward visibility. It simply registers all visual data, without bias; one is tempted to say that it sees as if it cannot be seen. Of course, this does not mean that the scanner produces evidence of the spectacle played out before it. Tragically, it cannot fulfill its promise, as each pass sets a new stage on which the viewer’s desire will disorganize the view and the work of art will throw up its camouflage.