The results of his analytic tinkering range from overt to subtle. In Emergent #7 (2014), for example, the same desert landscape is repeated in consecutive layers, arranged from darkest to brightest, superimposed over a larger image of the same landscape. The color and clarity of each spliced image is determined by different pixels found in the original photo he took. In Reassemblage #3 (2014), meanwhile, a lush, green mountain rises against an impossibly blue sky. The image is framed at the top and bottom by bands that resemble a digital color scale—a clue, perhaps, to the artist’s technological trickery. Although the mountain looks real, it is actually composed of individual images of a valley, which the artist digitally stitched together into its convincing form. Through such sleight-of-hand work, Dorf manages to effectively demonstrate the fallacy of our belief that we can ever fully know the world.