The work delves into the intersection of music, visual art,  and architecture within a conceptual framework rooted in self-referential proceduralism. Humans’s memories become the one of the sculpture. It reflects and incorporates itself by identifying with its origin upon encountering it, thereby transcending its own nature, as time arises from memory. This process involves the present moment becoming part of the past, then being regarded as such and reintegrated into the now. In this way, the present exists both as itself and as a recollection of the past, creating a continuous sense of passage.

These synthetic metal structures are conceived as filters, through which some excerpts of memory, represented in this particular work by piano components and other musical elements, are processed. Consequently, these structures resemble three-dimensional mnemonic projections. At the same time, some of the pieces incorporates tree branches, to reflect the fractal characteristic of the sculptures.