Emergence (2011) explores the relationship between film and still photography. The work shows a photographic print in a developing bath, enlarged from a glass negative taken in the early 1900s in Tehran, during the Persian Constitutional Revolution. As the picture emerges, a city square comes into view; then the photograph, left in the developing bath, slowly darkens and the image vanishes again into the paper's black surface. Emergence further complicates the nature of documenting violent and dramatic events, as the work also shows the fractures the negative endured, which occurred during the violent events that surround the subject of the image. In the end, the objects in the work are silent, and all that remains is the act of looking, animated and then denied in the material transformation of the image.