Rather than documenting the world objectively, the series treats photography as a space of collision — where one image interrupts another, and meaning emerges through overlap, fragmentation, and association. Using in-camera overlays rather than digital manipulation, Lazarus combined architecture, landscape, reflections, shadows, and branching forms into fractured visual environments where multiple realities coexist simultaneously. These photographs merge psychological and physical space, tension between natural structures and built environments, and the way perception becomes shaped through cultural experience. Branches, roots, windows, barriers, and repeated architectural forms appear not simply as subjects, but as interconnected systems through which identity, memory, and meaning are filtered.