To the beat of a sprinkler, a text explains that it is both canon and crises while there appear overlapping numbers from one to four and a guitar dubiously plays. This is challenged by an wide-ranging voice, a howl. There are images of a girl being treated for the sores that invade her body, with clear signs of pain. Microfragments make up a hypnotic rhythm on an unstructured but unusual and unstable moment in life.

The sky blue color that appears when the screen or projector loses visual electronic signal could be conceived as an allegory of death, agony, or simply a pause in some vital device. The appropriation of the term 'blue sky' creates the basis for a number of installations and videos. In Crisis 4/4 (canon inestable) the author recovers a recording that he made of his sick daughter. An instant of childhood pain portrayed in the healing process. A period of dramatic break with the happiness that tends to dominate the girl's age. A moment in which one becomes consciously aware of the body's potential for pain. An audiovisual recording of memory, for the family album. The visual rhythmic impetus, based on a dizzying syncopated assembly, falls on the viewer as an ever increasing feeling of anxiety. A girl crying as her pustules are treated with iodine, taken closely at a wide angle, is a sufficiently powerful image; restlessness is gained as continuity is chopped and repeated in a few frantic minutes. Also, the instability and the appearance of electronic failure points to a reset, an involuntary memory cleaning, holes and loops. Each fragment rewinds different moments of the same situation, like scratches on a record, curling events in revisions of childhood during this process of defragmenting memory. A spiral of violence in images and sounds which becomes an assonant chaos that alters appreciation through the repetition of spontaneous elements. The hypnotic result of Crisis 4/4 (canon inestable) demands a resolution of the conflict, of the crisis, allowing a pause for breath, seeking the safety of silence.