In Table Tops, compositions in black and white become landscapes, emphasizing the horizontal plane as inherent in architectural order and the history of the photographic medium. In this project, found objects or remnants thereof, gleaned from abandoned environments, are carefully arranged on tables. Their respective titles imply their delegation; whom they should be inhabited by, or for whom they are intended. However, these landscapes remain alienated from their designation, existing like a vague memory of an estranged place. Stemming from a both figurative and poetic stance, the array of discarded and unassociated components is recontextualized by Azoulay, forming the seven fictional settings that comprise this body of work.