In the print ‘Cut With The Kitchen Knife’ (1919) the juxtaposition of recognizable themes and images placed in unrecognizable circumstances, result in a discordant friction that depicts a dehumanization of humanity. The idea of using text as an expression was possibly taken from the Cubists and supported the idea that typography could be in itself a visual form of expression. Höch’s newspaper and magazine cuttings of different dimensions and configurations have a surrealistic effect on the viewer and form a mountain of everyday existence. This variety of survival and chaos it seems advances forward by the wheels and cogs that are placed within the images. The industrial fuelled representation is masculine in its use of mechanical depictions and reveals an overpowering lack of equilibrium, perhaps this is Höchs representation of the present or possibly her prediction of the future and fears of societies lack of egalitarianism.
‘The Photograph becomes a central element not only In a new commodity economy but in the reshaping of an entire territory on which signs and images, each effectively severed from a referent, circulate and proliferate.’ (Crary, 1998 :13)