The history of the monolith is the story of a journey, a transition from a sacred space, one of the quarries, in a secular space, that of the city. Symbolizes precisely the externalization of the artistic experience of an intimate, personal to a more communicative, social. It 'a journey in search of their identity, the procession is the metaphor for the artist's work. Using the figure of the dancer, the cantons search the most intimate self-perception: a dancer without his role as an actor without a sc<x>ript is the character as pure identity without his clothes by the imposed constructs of everyday life. Stripped from the role, becomes a unique essence, the primordial ready to receive the robes of his most intimate way. The vital impulse of the artist-dancer lies in rising upwards to be able to look down and be able to choose which role to play. The tension created in truly free artistic research in the physical effort of performance, in search of a multi-sensory language that attempts to reveal the creative process of creation itself. It is not the monolith as the physical structure to be the meaning of the work, but the total effort and continuous creation of the same.
The monolith, left in the square, is the last gesture by the artist's travel path, last sign of his journey, which is an inner journey, gave to the city and the public, who become the guarantors of the work.