“Like a journalist, she records events and images, but she differs from the journalist in her mode of perception: for the flâneur’s recording style is not an example of “matter-of fact-ness”, but rather a magical, mnemonic way of reading the city. Her distanced attitude leaves space for artistic interpretation.” 
The photographic truth isn’t stranger than fiction, it’s more fascinating. At its prime, it is the visual art par excellence because it is wholly about looking. There is no mark making. Everything is observed.”
These urban scenes resemble collage, something un-naturally assembled from seemingly inconspicuous buildings. The otherwise unnoticed vernacular architecture becomes an extension of an abstract painting. The photographs draw attention to a link between positive and negative space, where the background is given the same importance as the foreground subject, becoming an intrinsic part of the composition.
 Karen Van Godtsenhoven, Women’s Passages: A Bildungsroman of Female Flânerie
 Marc Collins, Landscape and Industry