This work, like the others that constitute the Fresnel series, has its origin in the questioning about the relationship between integrity and fragmentation. As an object, the ship has the distinctive character of presenting a high level of formal continuity and integrity. Any disruption of its continuity is immediately perceived as an abrupt rupture of this integrity. This is how two moments of the image are defined: The whole ship, and the fractured ship that sinks. The transition between these two states occurs in the gradual continuity generated by the fresnel support. It is the reading of a timed catastrophe, understanding catastrophe (from the Greek katastrophê) in its most essential etymological meaning: turn down, fold down. The fresnel format allows the spectator to reverse this catastrophic-dissolutive process at will. In this way, the observer is alternately constituted as builder and destroyer, and is thus empowered by an attribute that sublimates the game of visuality into a "demiurgic" act.