Douglas Gordon’s work revolves generically around the image and its great ability to seduce and deceive. Since his first works in the nineties he has experimented with the different facets of reality, meaning what he (or we ourselves) represents, or film fiction as reality. In a logical structure that takes the mirror as the key reference to the fact that any image has its other side, he has developed a work in which, with films, photography, objects and texts, he places the spectator in a position of constant redefinition and continuous rethinking. The works for which he is best known are the ones that focus on the cinema as the space that generates the myth of contemporary society. From legendary films and actors he analyses the great power of film to constitute a parallel reality and to make an analysis of reality and fiction. The way in which he starts from films already familiar to the general public and directors such as Hitchcock or actors like Robert De Niro and appropriates the existing material is particularly useful for the suggestive overtones from which he starts and on which he then constructs his discourse.