Throughout these forty drawings, Siebel opens a door to his personal animal facility. Images of fantastic nature, observed by the faces of dreamy and restless beings, animated and differentiated by strange facial features. A cosmogony designed to combat the agony of evil and disease, symbolized by the deadly star of the virus that populates the skies of these drawings, trying to turn them into hell.
These creatures and scenes have formal and expressive freedom which points directly to the waterline of the vessel of our senses and our passions.
The choice of pencil and paper, with certain contributions of ink, as the material and support for these works was not a fortuitous decision. The art of drawing, using instruments so humble but at the same time so versatile, allowed him to officiate an act of greater immediacy and apply a more direct, concise line on the bare and fertile surface of paper. This technique makes it possible to connect, through a closer gesture and without intermediaries, with the essence of graphic and visual representation.
The decision to avoid colour, and use only black, white and their infinite shades of grey, was consciously adopted in an attempt to reach a kind of formal and gestural purity.