The painting draws from the Hall of the Kings at the Alhambra, with tile wheels of 12 rounded, indented zafates (the surrounding polygons), centred on black stars and white almendrillas (small filler pieces). Based on sixfold symmetry, it reflects the concept of “as above, so below,” forming a rhythmic, interlocking field.

In the painting, the pattern is inlaid into select areas of a stone‑coloured marble‑effect surface. Its unfinished, eroded quality evokes the
passage of time, the impermanence of what we hold as beautiful and precious, and the gradual revealing of the underlying ground, inviting reflection on the enduring essence of the soul.