The graphic and geometric elements taken from Paolo Uccello’s triptych “La Battaglia di San Romano” (The Battle of San Romano) appeared in the concavities of granite rocks as if to reveal prehistoric cave depictions of cultural elements instead of the well-known representations of animals, generating an ambiguity between temporal non-linearity, or the predating of certain iconographic themes, which, although emblematic of the Renaissance, evoke a knowledge without time, space, and genre, which extends, for example, to embrace the wall paintings of the Gurunsi houses, made by women. As recalled by the title, which quotes a passage from Leibniz’s “Monadology”.

A type of representation that, according to the canons defined by Clement Greenberg in his “Modernist Painting” text, is not attributable to pictures but to making images or recording the imagination that flows following an almost dreamlike plot.