The series of kaleidoscopic simulacrums, of simple technical bill, locates the intimate look of the individual against the infinite reflections of a fragmented "primordial image". In the early nineteenth century kaleidoscope, it was splinters of glass that created ever new constellations. Here, the method is updated with changing video recordings which also fascinates us with its bright methamorphose of colors. Three small elongated mirrors form an equilateral triangle in which at its end a cut of the video appears, merging with the images reflected, forming a pulsating maze. The show is contained and concealed in a long pipe that directs the viewer’s attention specularly, as if it is the sight of a gun, to a similar triangle of mirrors that reflect the surrounding and often anodyne space room of the gallery. The kaleidoscopic image is only ornamental at first glance; when we examine it more closely – searching for meaning – we recognise the fragments of the world that make up the image. The reality and its simulacrum are not intended to mock opposition, but serve equally to the construction of meaning: " The simulacrum is never that which conceals the truth —it is the truth which conceals that there is none. The simulacrum is true”. This is proclamation can be read on the walls next to the machine. The light box accompanying the piece shows the video image at the time of disconnection. The kaleidoscope is a philosophical instrument, as its inventor David Brewster already commented.