Surah examines the human condition using a complex string of ideas and pre-existing theories. Within this video diptych Surah looks at atrocity within the photographic image, placing emphasis on censorship, abstraction and the indexical trace.

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Surah challenges how the photograph can be used as a document, taking the traditional documentary aesthetic and completely reinventing its surface. Using static images, audio clips and video, Surah changes the way in which we look at atrocity by marrying multiple media types into one sequential video and turning that into a form of photographic evidence, one which plays on the senses but also strikes a very important question, can abstraction count as a form of photographic evidence?