The rhythm stains the film red; as the rhythm increases other colors and forms appear. Like rivers of blood, the tapping of the sound increases the image's tension. Just when it seems that it can augment no more, the paint bends over itself accompanied by a counter rhythm that amplifies the tension.

From monochromatic abstraction, Oriol Sánchez explores the agitation between image and sounds as carriers of complex emotions at the same time that he develops a meta- essay on the practice itself. Estudio en rojo is a film that forms part of a tradition of experimentation with painting on celluloid. It ironically reinterprets the tradition by breaking the classical purity that usually affects these types of offerings. The digital postproduction and the introduction of a counter rhythm, charges the work with an anti-canonical polyphony that moves the piece into the contemporary. The artisanal is demythologized by the metamorphosis and manipulation of the chemical into the digital, and this process is what is emphasized by the permutations of sound and image.

As a representation at the limits of the pictorial practice itself, this Estudio en rojo corresponds to an Estudio en azul [Study in blue] from the same year. Both were created for installation in single channel small television. With strong baroque tendencies, the agitation, which is so strongly produced by the color and rhythmical progression, becomes a trance-like state which is unconscious of the indiscriminant flow of thoughts. Under the seemingly never ending irrational spell of these particularly wide and loose effects, a voluptuous delight is born. The unconscious vision in this red can be found in the flesh's unease, in the lips, the power, the adventure, the game, the transgression, as well as the vanity of desire, of passion, of the orgasm, and even the sickness.