The art installation is comprised of entities referred to as Frisson Modules, a nomenclature rich in historical intertextuality. These modules derive their name from Gerard Nerval's narrative "Sylvie," a literary work explicitly referenced within the tale itself. Remarkably, this narrative holds significance as one of Marcel Proust's favored stories, and, in admiration for Proust as a luminary literary figure, the artist deliberately pays homage through this subtle reference.

This intentional invocation of Proust aligns with the broader thematic exploration of incremental change, a concept that has been a focal point in the artist's previous exhibitions. The Frisson Modules, therefore, serve as a convergence point for these ideas, acting as a manifestation of incremental change within a modular framework.

Utilizing the lexical duality of "module" in English, these entities encapsulate a frisson—a heightened sensation of excitement. This heightened state is achieved through the deployment of vibrant hues and the inherent consistency of the applied paint. Conceptually, these modules collectively constitute a Frisson Modules group, wherein each module serves as an individual encapsulation of heightened emotional intensity.

Furthermore, the inherent modular nature of these works aligns with the vision of a group of modules, collectively forming a modular ensemble consisting of five distinct pieces. This intentional design allows for a myriad of modular arrangements, providing a dynamic and flexible exhibition presentation.

The conceptual foundation of these encapsulated worlds finds its roots in the oeuvre of Joseph Cornell. The notion of a self-contained world within each module echoes the artistic philosophy embodied in Cornell's work, thereby establishing a thematic dialogue with his exploration of boxed realms.