Made with images pieces, displayed short time but extensively in the streets, the works creates collective memory. The cranial disk prints all that it captures. It often stores these images fragments in a dark inmost depths, but is capable to come flooding back, if the information was well stored. For most of us, there is only approximate effluvium, which allows to say our familiarity, but could not hang on to a fact. But there is always something.
That is why the perspective on the works flood back the perception by piecemeal unconscious of an already inquiring seen. That is soliciting attention and accustoms immediately the viewer with the work. It is already familiar to him. He has already seen some pieces of the puzzle somewhere. The important is not to know where. The key lies in this pre-established privacy.
In addition, the initial purpose's diversion of collective indoctrination, allows the observer to adhere more easily to the approach. It is a confidence, a recognition freedom tinted, a silent claim of our free will.