The image that is preparing, is searching for itself or for the object of representation, is functioning as a recording camera about to focus, forcing the viewer to identify the object, to be more attentive at the fluid circulating between him and the work, having almost nothing that supports a figurative recognition. Everything seems covered with a pellicle that modifies, deforms and mixes all together.
This phase of the research sees the attenuation of the palette painting, requiring an increased attention to the involvement of the viewer. They are more graphic works, like love letters addressed to the ones that cannot defend themselves, the drops of paint look like tears surging from the acknowledgment of the incapacity of changing the course of things.