Breuer has experimented with photograms, pinhole imagery and, more recently, chromogenic and gelatin silver papers before and after development. In some work, he combines more conventional printing techniques with physical intervention, for example by making a contact print of a polaroid which has been shot with a rifle, or by abrading a photogram. Breuer exposes the paper to varying degrees of light, which results in differing shades of grey or black, before stripping down the individual layers of emulsion with elements such as fire or sandpaper. The resulting images emphasise Breuer’s subversion of concepts that are inherent to conventional interpretations of photography, such as the photograph as a document or purveyor of truth. They also clearly convey his preoccupations with the sublime and with creating works that are intrinsically material and are made up of marks on a photographic surface that is usually pristine. In consultation with the artist, a selection of works to consider for acquisition has been made that represents the full spectrum of his materials and techniques.