In The Elliptical Hour, Domenech continues his exploration of language, image, and materiality through a hybrid form

he refers to as "book-paintings." Each piece begins as a folded publication, crafted from synthetic paper and encased between two wooden covers. When unfolded and displayed on a wall, it transforms into a modular, image-based surface that blurs the boundaries between painting, print, and sculpture.

Each book-painting is the result of a meticulous, multi-layered process that combines analog craftsmanship with digital manipulation. Domenech works with images—often derived from his own photographs of urban spaces—which he digitally edits, deconstructs, and recomposes across multiple surfaces. These images are then printed onto synthetic substrates, cut

and assembled by hand, and further transformed through techniques such as painting, airbrushing, vinyl application, laser cutting, and the incorporation of colored paper.

The finished compositions evoke the visual language of street posters, public signage, and printed ephemera, establishing

a direct connection between the material history of print and the transient nature of information in motion.