But Aliki interrupts our gaze by interfering with the photographic surface. Using various processes of blocking, erasing and obscuring parts of the image while still in its negative form she unsettles our understanding of what is familiar. Is this a landscape? Is this a photograph?
In her attempt to redefine the photographic print Aliki allows for the possibility of photography moving beyond its traditional role of recording medium. The disruptions she applies make us look beyond the immediate surface breaking the photograph's integrity. Yet by using photography to record her acts of "wilful damage" [John Hilliard] she creates an anxious dialogue between the corrupted negative and the truthful positive print.