The edges along each side of this photograph give the impression that the photographer turned a corner and just happened upon this scene. The poetry of every day life and the extraordinariness of the ordinary are illustrated here. Fuka tried to capture these qualities in her photographs as she stamped her individual style onto the larger art movement called Surrealism. “It should be understood that the real is a relation like any other,” wrote a French promoter of Surrealism. “The essence of things is by no means linked to their reality, there are other relations beside reality, which the mind is capable of grasping, and which are also primary like chance, illusion, the fantastic, the dream. These various groups are united and brought into harmony in one single order, surreality . . .” (Aragon, Une Vague de Rêves , 1924)

Strange and uncertain space was a device used by many Surrealists to represent those other relations beside reality. Look at the looming shadow on the building behind the dancing child. Is it a shadow of the statue in the foreground or something outside of the frame of the picture? The relationship between the shrouded old statue and the lively young girl creates a strange mood. Although they are facing away from each other, they are very much together in the space of the photograph. Does the statue threaten the child or offer some kind of protection? These visual mysteries, presenting themselves in everyday life and turning the ordinary into the extraordinary, were themes that fascinated Eva Fuka.