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If there’s one thing that the surrealists were masters of, it was juxtapositions: tantalisingly uncanny combinations of objects, which might reveal the secret desires of our unconscious. From Dalí’sLobster Telephone, to Meret Oppenheim’s fur-lined teacup (Le Déjeuner en Fourrure), their tongue-in-cheek assemblages eluded fixed meanings, seducing an array of fetishist, Freudian, and feminist readings. Forever drawn to such surrealist concoctions, Paris-born and raised photographer Denis Darzacq often bases his work on a given paradox. Lately, he has been drawn to the paradox of artistic mediums. In his ongoing series, Doublemix, opening at L.A.'s De Soto Gallery this Saturday, Darzacq combines his photographs – an intriguingly haphazard selection of vernacular-style pictures of nature, historical statuary, abstract paintings and suburban streets – with decorative ceramic shapes by his long-time friend and on-going collaborator, Anna Lüneman. The results might not be so erotically inclined as surrealist assemblages, but they seek to intrigue, tease and surprise in equal measure.