The most central theme in AM's work occurs in his identification to the movements of suspension, defined by lack, of  the voiceless objects of the real. 

Within the realm of arik miranda's spirit, the “presence” of the object imposes itself, upon the subject, as a phenomenon. 

Through his fascinating ways of repeating scenery and imagery in hallucinatory contexts, AM draws an hypnotic real which loses all meaning and materiality.

The real, as perceived by AM, is positive and negative in the sense that it is both the figure of its “truth” and also the revelation of its hidden substance. 

The movement from the positive to the negative understanding of the object is experimented in terms of absence and silence, beyond its boundaries and the situation it belongs. 

The perception of the object and the subject is destabilized through the experience and practice of AM's floating gaze.

AM creates open receptacles for the patterned narratives which modulate new scenarios in our conscious and unconscious.

AM expresses imperceptible meanings onto the said and the unsaid in a quasi silent and vacant space, far from the noise of our thought processes, and engages a gradual move to the radicality of showing objects in particular contexts and extinguishing their materiality. 

AM’s idea of the gaze as object of desire attempts to elucidate in historical fragments the symptoms of our memory.

More specifically, the figure of the body/object, when exposed by AM, marks its place in an existential dimension where life and words seem to constantly accompany us into a pivotal physicality .

AM’s notions of gaze and silence seems to interrogate the complex relation that exists between the desire and the other. 

The gaze, the desire and the silence structures the transcendental relation from the outside to the inside. 

AM materializes his existential sight on the lack and the absence.

And it happens, beyond the limits of the materiality,  the origins, in the inner silence of himself.