Federico Miró's work is characterised by the aesthetic influence of the Baroque and the Renaissance, canvases dominated by horror vacui enhanced by ornamental and vegetal elements. In The invisible thread, Federico Miró attempts to synthesise the image by reducing the colour palette and focusing on specific ranges. An exercise in synthesis that continues the work of recent years where the pictorial is enhanced. At first glance, the works that make up The invisible thread appear monochrome, however, when the gaze pauses long enough, natural figures and forms begin to be discovered. It is nothing more than the artist's desire to emphasise the material presence of the object within the search for the spiritual, from the contemplative experience. Federico Miró has looked back and has been influenced by artists such as Rothko, whose use of large formats that make the viewer feel enveloped and immersed in a mystical experience particularly draws his attention; the particular obsessive use of blue by Yves Klein or the colour theory of Josef Albers to materialise this new series. Likewise, he has also been influenced by Utagawa Hiroshige, one of the main exponents of 18th century Japanese landscape painting. He has particularly focused on his famous ukiyo-e series on views of Mount Fuji and Edo (now Tokyo), which are characterised by their vertical format and subtle control of chromaticity, from which he tries to borrow that oriental atmosphere based on contemplation.