"[In these collages], in addition to the idea of virtual object is the idea of virtual movement, that is, signs of movement. I began to think of these images as being about cameras themselves, or more specifically, a kind of exploded view diagram of photographic processes or phenomenon, a mathematical formula, or a hieroglyphic inscription. While they have an obvious mechanical dimension, I like to think of them as dreams of machines rather than images of machines.

The driving force behind these combinations was often a series of implied “translations” or transformations of images into objects and vice versa, as if one had to make a drawing or diagram of a photograph using only objects. Increasing emphasis was given to the meaning created by the syntactic – the relative position of objects – over the semantic – their inherent meaning as subjects. The white space between the elements was very important, both physically and conceptually, creating a solid void out of which elements could be unified . . . while not totally losing [their] inherent recognizable identity.”

– Carl Toth, handwritten notes, undated