The chair as signifier, when camouflaged, finds a link to the Surrealist painting, This is not a pipe which in the image of the threshold becomes this is not chair. Why? Because although the chair is real it has been given its role as a chair in a architectural work of art.

The flat picture plane of the surreal threshold space, where the chair has no connotations, negates a physical interaction with the threshold space to one of a paradox.

The traditional figure in a landscape painting is translated in the urban environment by the surreal threshold with its two dimensional vision to the world.