Every time Frigo observes a cloud, mostly when it is 30 degrees over the horizon, he attempts to detect a shape. Such a shape detection comes more or less naturally also depending on his propensity to imagine right then. A cloud is usually detected as two or more combined figures such as an eagle pulling a mermaid up from the butts. As for the drawings of ideas and all other annotations made for other parts of the project, the detected shapes are generally transcribed on a smartphone. Frigo does so in Italian to directly link what he sees via his mother language, creating a stronger and more direct relation to his subconscious. Such annotations, as the dreams, the drawings and other second parts of each of the trilogies of the life project, are directly reflecting Frigo's psychological state. As an example, if he detects a black man beating a naked woman with a stick, I could be right then experiencing some sexual frustrations.

Selected screenshots of shapes seen in clouds Frigo annotating clouds seen from a cafe in antwerp in 2014 Random shape of cloud Annotations of shapes of clouds from December 2016 Video projection of the clouds of month 80 Location of the projection of clouds in the museum

Every morning, updating chronologically all the parts of his project, Frigo recreates an annotation of an image detected in a cloud by using a 3D program and an archive of more than 1000 3D models Frigo has selected over the years from the Internet. The collection acts like Frigo's subconscious, a Platonic world of ideas comprising basic elements such as people, animals and objects. Generally, two models then are combined three dimensionally, creating a connection without any separation. Once the models are thus connected to recreate the annotation of the shape detected in a cloud, Frigo set a black background and set the textures to be “monochrome” white without any sun shading, thus again creating some sort of cloud but also much resembling an antique marble sculpture. Later, he orbits the resulting model in search for the best perspective from which most important elements of the generated 3D image can be observed. Having found one, a screen shot is taken and later resized to a height of 600 pixels and extended to a width of 1250 pixels if it is not too long else the contrary.

In the ideal scenario, the resulting images of the shapes detected from a cloud, are projected on a tilted trapezoid located high over a wall. Possibly inspired by the Olympic theater of Andrea Palladio and, with clouds painted in the ceiling, each of the 24 images representing a month production are shown moving from left to right in 30 seconds time resulting into a 12 minutes screening. As for the other presentations of dynamic content, it would take a viewer a whole week to view all the clouds reproduced by Frigo in 36 years. This work is similar to that carried out by Leonardo Da Vinci and other creative inventors like the designer Bruno Munari, to detect shapes in clouds in order to train their creativity and imagination as already the visual remembering of dreams does to Frigo. Strangely, also, the latter has noticed that every time there are these premises of a clear sky with scattered clouds (does not the overcast of Northern countries), Frigo himself is quite imaginative as if the celestial vault would be a projection of the vault within his head.