Strangely enough, after seeing the drawing and reflecting on it, I noticed a series of strange quirks. For example, the drawing looks like a much older person than what he actually was. I incorporated a series of facial features that come from his older years. He looks old and scarred, a lot thinner than what he used to be, and has a lot of features that were not present during those years. It was also very astonishing to see the psychological profile that was created with the drawing: he looks bitter and angry, which is something that is not visible if you see a picture of him; nevertheless, that´s how I remember him during those years. It seems as if, together with him aging in real life, the memory I keep of him during those years has also aged. These findings made me think about how we produce images inside our minds, how we give bodily weight to psychological features, how we modify the images of the past in the light of new information and how, within our minds, a whole creative exercise is done to be able to generate images. It looks like concept and affection are intertwined with the sensory information of shapes, colors and light, in the human mind; this combination produces a very unique kind of images: images that have a tridimensionality not in space but in time.

Since in one of my texts my father appeared prominently, I decided that it would be an interesting idea to do a spoken portrait of my father. This memory came from a period in my life when I was around seven years old. Because of this, I tried to describe my father as he looked back then. I added all sorts of anecdotes about him to make his personality more easily graspable to Omar. I described his personality, his heroes, his vices, and stories that ranged from the mundane to the eccentric.

The rules for the first experiment were:

1. I would describe a character from my past to Omar and he would have to draw it.

2. I would verbalize to him a description of the physical appearance of my character as well as anecdotes and experiences from his/her life.

3. The technique and format of the drawing would be chosen by Omar.

4. I would never reveal the identity of the character.

5. The time it took for the drawing to be made should equal the duration of the narration.

6. It would all be documented on video.

7. We would guide the process through an open dialogue: Omar could ask for more information or for more descriptions. He could ask any question he wanted about this character. In a similar manner, I could deepen explanations on any feature or story as I found appropriate.