In Surrender (Collision), Douglas uses photograms to capture silhouettes in the darkroom, offering a meditation on the physical and spiritual essence of the human form. This work explores ephemeral impressions, echoing the transient presence of bodies within the natural world. 

“These photograms show a human figure (presumably male) either in relationship to another figure or on their own. The shadowy quality of the photogram conveys a sense of the body both as a physical and spiritual entity and suggests how this view of the self can be changing and relative. As Douglas has written of her work: 'I am interested in colliding realms of memory and the imaginary, in titling the axis of meaning. My work contains things that are in our field of vision if we choose to seek them out.”

 

- Isobel Crombie, 2003