According to Nietzsche, ‘‘nature is the supreme indifference transfigured in power’’, and this seems to be the idea that is glimpsed in the subtle geometric patterns that give shape to the work Deathline. The world is essentially will to power, life is permanent confrontation expressed in incessant relationships of appropriation and dominion, and it is in nature that these relationships are seen and reflected, as in the clearness of a mirror. By means of an optical strategy of dynamic perception, associated with the movement of the observer, the artistic operation is directed here to reveal the essential plane in which these relations of dominion can be perceived as what they really are: pure vectors of blind force, of which living beings are simply incarnations on the phenomenic plane of the ephemeral and contingent.