Impressions of any figure are electrical impulses which the eye receives from the objective reality through the presence of light. These colours, shapes, dimensions and proportions are the result of an electrical signal being reprocessed. After being channelled in the pupil, the signal is dissected and finally interpreted. Upon receiving the other four senses, the brain also receives the visual signal and breaks down the visible whole. When we look at an object, the whole is fragmented into multiple details, multiple points, which are considered in virtue of their differences: an area will be darker because it is near a lighter area, an object will be further or nearer something else, higher/lower, etc. Movement and the constant search for these multiple details cancel stratification and nullify the complex process that enabled us to see by rendering it fluid and not analysable through individual component parts. This artistic technique revolves around emphasising an image’s fragmentation and crystallising it in the moment in which we look at it. The act of looking is like a filter for liquids, in the form of electricity and light. We are able to see because the signal moves from one receptor to another and the information extends through ramification. Two points, identified by nails or screws, linked by a thread. Two neurons which communicate through a nerve. The thread, which is coiled around the point, twists around the nerve and continues its journey as far as it is able to carry the sense, the meaning. Initially a connection, or rather a projection, of the contour line, it identifies and demarcates the space of communication. At the outset, it was "from an idea to an image; from an image to a frame, to its neuralgic points", but 10 years have gone by and these points have grown, become detached, and pushed out towards the exterior and the spectator. I am considering stratification in an additional dimension - the contour line has become detached from its root. The thread has acquired relevance, reflecting light to create additional levels of shadow. The shadow itself only remained attached to the base in the beginning, but now moves and represents an independent reticulum that is bound only to the original object through a cause-effect relationship. I am using the single point - known as the dormant neuron - which doesn’t create a reticulum, but simply remains where it is. Another level emerges from the internal stratification of the image container. The dormant neuron takes the name neuron zero when its depth is completely cancelled: it does not represent communication, it can only enter into dialogue with the spectator, not with other neurons; it is the terminus, at once the beginning and the end. In the process of extrusion, the load-bearing element carried the colour and communicated it. From here, we have what I call the "flowering" phase. Layers might not have the same colouring, as the message is interpreted and may not coincide with the source, but this represents an additional level of cognitive development and relations between ideas, concepts and formulae. The highlighted space is shaped "underground", it twists in the air, through the air, blossoms and branches out like a word whispered into the wind and captured by a fishing net. (2015)