This artwork belong to BLAGUI collection The dualism that manifests itself is the strength and power of the masculine principle against the power of the feminine principle. In this contest and in this combat, there is neither winner nor loser. In the image the forces are distributed, and have balanced, and neutralized each other.

The context is a structured regular pattern of triangles, which obey an order in which there are only two alternatives or positions, namely: the pyramid up and the pyramid down. The graphic correspondence is clear and evident. The triangles in an abstract plane, transit in a higher definition level, to the respective human sexual organs.

Adding emphasis to the opposites, a first pyramidal order embraces the color white (fire/masculine principle) and a second pyramidal order embraces black (woter/feminine principle). The dialectic is clear. The pattern only accepts two ontological categories, particularly in the center of the composition. However, each cell of the pattern goes forward or backward from the Apollonian to the Dionysian and vice versa.

The icons show a greater or lesser commitment with respect to the ontological category. In three flat planes of definition (determination). The first icon is figurative, the second icon is abstract (black and white), and the third uses gray. and it is negative with respect to the other two planes (otherness). The gray cells develop from the quasi-disintegration, which even loses its limits and dematerializes, in a deformation, in an increasingly diffuse ambiguity, which particularly predominates around the perimeter of the composition. And that paradoxically, they return to the arena of the center and of the hourglass.

The hourglass is the pendular movement of power, in which masculine forces and feminine forces cyclically alternate with each other, a dance of determination and indeterminacy.