According to Deleuze, following in the footsteps of NIETZSCHE, the process of return involves a selection of differences, which must be reduced to “differentiables,” that is, elements that differentiate and identify the being. It is during this process of spiral movement that thought, affirmation, and truth are realized. It is in this process that art becomes present, presence, and “difference.” Art does not replicate itself. It processes its legacy so that it can continually become present.

That said, parts of an image that intervene successively, based on the assumption of unity and simplicity, are emphasized on the unprepared canvas, images of a rationality as a kind of pattern, interconnection from screen to screen.

Clippings of mathematical images abundant in a universe of our growth that remain like scars on the skin. These elements move between the visual and its urban/city recognition and the binomial life/art.

In the homogeneous lines of the canvases, elements are traced in the work that are supported by a language that is apparently playful for our vision, and by intellectual gymnastics. These references of our marks are intrinsic to the soul of each module presented, which triggers an evaluation of the representation data. The configuration of cartoons or parietal gestures; and, on the other hand, the sliding of the image in terms of historical reference, limited in time, in the twentieth century, in patches of truth, insinuation and lie: the lie that allows us to see the real and, therefore, makes it effectively visible.