The painting investigates the purely mechanical nature of the biological body once the filter of conscious identity has been removed. The figure of the decorticated subject is not presented as an image of suffering in the traditional sense, but as a map of nerve impulses and muscular contractions occurring in the absence of a central agent.
The clinical investigation, conducted through neuroscientific observation, reveals how motor processes — such as the act of clenching a fist or regulating pulmonary ventilation — proceed by pure biological inertia. There is no underlying substance; the work documents a closed system, a dance of impulses without a director, where the observer’s disorientation is the evidence of the vibration of an illusion fearing its own erasure.

This research is part of the context of historical stratifications and biological impulses that govern the system, analyzing the discrepancy between the perception of a decisional "Self" and the reality of a series of simultaneous functions. To believe that an executor exists is a reassurance mechanism, an optical illusion of consciousness that this painting aims to deconstruct through the rawness of anatomical representation.