Matilde Marín organises the whole scene prior to the shot: she decides the intensity of the light, contrasts, settings, she contributes her own hands as subject for each recording. The unpremeditated theatrical ritualisation indicates the beginning of the first game.
But the meticulous arrangement of the ritual is not aimed at a single result, many and many small contact photos; each one contributing minimum or significant variations. Second game then: the repetition of the shot, the persistent reiteration of the cut.
Thus, next, starting from the multiple photographic recordings provided by the game of stopping time, of removing a portion of space, a third game is organised, choosing, deciding which shot is going to contribute better to the setting up of the next games, in pursuit of the final game, the desired game. The games begin to link in a transitive and at the same time reciprocal manner; that is, each one is the consequence of the other and all influence each other.