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A dense book of 312 pages for a flow of 560 "overprints" or an "everyday obsession". An intuitive and mocking project where everyone can find themselves. The overprint plays to deconstruct, deride, stare and distort this very stylized world of the magazine and more generally of the printed image. Half iconic, half ironic, Daubal's approach explores the themes of fashion, ecology and the human being in his environment. Her artisanal, even minimalist mode of production, made of recycling, cutting, and all kinds of tinkering, makes us react and think. She invites us to look differently at the subjects she tackles by deconstructing with fantasy the established codes and by colliding glossy paper and popular culture. Creating a dialogue by combining the improbable, provoking questions rather than providing answers. Absurd object or initiator of thought? Fruit of chance or deliberate choice? Meaningless or symbolic? Homage or cheese? A perpetual performance in which she rhymes fashion and onions!

The photographs that make up Tabitha Soren's book, Surface Tension are 20x25 room reproductions of her digital tablet screen. In the background, behind the fingerprints that cover the latter is a corpus of images from both her internet search history, the social networks she consults and the text messages she receives. Pictures of forest fires, protests, police repression, pictures that constitute the news and that we consult daily and often in a mechanical way. His artistic gesture highlights the constant interaction we have with our phone and evokes the collective reality of millions of humans constantly attracted by their screens and who, by dint of receiving an incessant flow of information in constant renewal, gradually forget that they also participate in the world physically and collectively. Surface Tension will be exhibited at Mills College Art Museum (September 2021 - December 2021), Pier 24 Photography (January 2022 - September 2022), and San Francisco Airport (October 2021 - April 2022). Soren has been a multidisciplinary visual artist for over 25 years, long interested in the intersection of culture, politics, the body, and psychology. She lives and works in California, and her work has been included in numerous private collections around the world (including museum collections such as LAC MA, The Getty, Harvard Art Museum, New Orleans Museum of Art, Cleveland Museum of Art, Eastman Museum of Photography, Museum of Contemporary Photography, Pier 24). The book is accompanied by an essay written by Jia Tolentino, a writer for The New Yorker and author of the collection of essays entitled "Trick Mirror: Reflections on Self-Delusion."