The installation A Summer in Bikini consists of four canvases, each measuring two metres by two metres, painted with white fluorescent paint. The images on the canvases can only be seen when they are illuminated by wooden lamps. In the absence of ultraviolet light, the paintings are white monochromes. While the canvases are illuminated by an electronic system for just a few seconds every minute, the intermittent strobe light at the centre of the installation recreates the visual sensation of the explosions. The subjects of the canvases are four moments in an atomic explosion, from the initial glow of the explosion to the definition of the mushroom cloud. The paintings depict nuclear explosions such as those carried out by the United States in the 1940s and 1950s in the Bikini Atoll. This work, on the border between painting and photography, combines the manipulative possibilities of the former with the tactile reality of the latter. These monochromes become a metaphor for a real nuclear danger, forgotten or even rejected by contemporary society, which appears only as an unconscious fear.

This work is an attempt to reproduce, through staging, a 'reality' that, as in the case of the nuclear explosion, most people have experienced through media images. A 'reality', in this case hidden, but always present as a potential backdrop to total destruction.