The observer is permanently there. In terms of theatre design, contemplating the work from the position of the observer puts us above the plane of the subject and displaced from him or her. This is a courtesy (of the viewer) to achieve a false reading of the whole subject from the foreground to the horizon. A true reading, with a chance of not being subjectivised in the least, happens when the essence of the landscape is achieved, beyond shapes, senses and interpretation.

A courtesy too for placing us in the mirror of reality, showing a subject always in movement, temporality and change. From the same observation point, we also accept our apparent partiality and theatricality, contemplating allegories of myth, airs of mysticism and diverse horizons. As many truths as there are minds.

The masters instructing it use the gradual method, creating trajectories, suggestions, and atmospheres of knowledge vs. ignorance. From darkness to light.