THE BODY AND ITS DOUBLE. …that which changes and has already changed us. …that which changes and has already changed us. The organic body, born from a pulsing of memories, stitches the wounds of a pain engraved on the skin. Recognising this bond of suffering in the works created was like reliving an experience which has become buried. Life is constantly changing, like our skin, but it cannot change the soul, fascinated and frightened by the repeating of events. At this time we are seeing the superficiality with which events are interpreted and judged, searching for a label to give our body. Diversity and transgression…the number of cultural paths are reduced through the changing and metamorphosis of the body: from an altered relationship with one’s own body to an altered universe of communication. Marking one’s own personal aesthetic value with a barcode is like typing a series of visual metaphors linked to a crude reality. In the incomplete illusion of an identity, each viewer will give the work a unique and impalpable body. “The body and its double” is an attempt to configure an identity composed of molecular fragments of a common DNA. The composition of this new theoretical body comes from an inorganic representation which is consciously changing. Each encounter with the paintings redesigns the identity of a changeable subject and redefines a body cyclically under construction. The intention has been to give a constant value to the meticulous metaphorical research into the composition of the work. The immediate references regard the body. A descriptive hybridization is used to depict a new way of understanding the body, taking into account the problems within each subjective identity. It is through of the pain of a wound that we perceive the particles which allow us to interpret the work. Recognising the common diagnosis with regard to the meaning of existing in a body was an examination of life. Each work was the conscious mark of a suffering perceived through the signs. The graphic solutions were injected inside the body, sliding into the bloodstream. The fluidity of the signs penetrated the body with a pulsing rhythm, to the extent of re-opening the wounds. The suffered memory of a time emerged and blossomed lucidly in front of the eyes. The iconography of the injuries sustained during the illness had been memorised in the mind. The generic pain perceived was the molecular discovery of another form of suffering which spread inside the body, freezing the blood. The crude reality filtered inside our body each day can attack the organs and cloud our minds with false sensations. Everything can become routine and the signs of this work passively enclose the changeable artistic panorama, since the sterilisation of the organ that is the heart has caused us to lose each and every connection with the eye of the soul. From this interpretation comes a desire for liberation from the mass of amorphous thought. Before the body erodes the works, culture in its entirety must dominate over life. Life not as an external appearance of the facts but as an elusive image of forms. Shattering the official language and rejecting the customary limits of man, the work begins to push the boundaries of the so-called reality towards a specialised place of representation.