The pull and push of the disparate bodies of works - the lull of the former and the turmoil in the latter - opens the platform for a dialogue on image. In "Shade My Eyes and I Can See You", Silverlens veers priority away from the signification war on the photograph surface to the visual materiality of representation itself. Taking/braving a step away from the artistic category that identifies its ventures, the gamble towards miscegenation foretells, perhaps, a necessary shift to adapt to the constantly evolving definition of image.