On first view, the photographic superimpositions in black and brown offer nothing to hold onto. Their unruly surfaces lead into the depth, into fragments of motifs: backyards, dumped car tires, huge cable drums, dead tree stumps, rusty bed frames, or the wall of a shack with strange objects leaning against it. If, on second view, the eye manages to separate the different layers of reality meshed here, in the end the decipherable photographic images collapse again into painterly textures. Swamp is the fourth artist’s book from a series Wool has published with Holzwarth Publications: Road and Westtexaspsychosculpture collected photos of bumpy roads or sculpture-like found objects in Texan surroundings; then, in Yard from 2018, the artist clearly superimposed two different realities. Now Swamp is another step in the process, developing new pictures through processing and reproduction, for which the original photographic gaze acts as just the basic layer.