The most recent in Uslé's series of paintings is characteristic of an increasing complexity of composition. A series of pictorial mechanisms seem to generate their structure; there is something of a scientific graph on an electronic screen about them. Those mechanisms are only different upwards and sideways movements, which produce different rhythms in a very dense space. The picture is part of a series that combines calculation and spontaneity; Asa - Nisi - Masa also belongs to it.
Specifically, here we see six horizontal white lines finished with a drop on a background laid out orthogonally in different shades and tones of red. The edges of the red pattern suggest lines of writing. Three dark horizontal windows, like screens on the pattern, suggest empty or amnesiac spaces. The dark strips on the lower part and the rising twisting blue line unify the space, at once synthetic and nostalgic. The red -according to Uslé- alludes to blood and the lines and screens are like ordered sequences of memory. Everything is done in a kind of digital graph, inspired by the cardiograms that register the pulse and the heartbeat, recording the transitions and breaths of the process until its culmination in death. Uslé is a great admirer of Holbein's Christ in the Tomb, which is kept in Colmar, a work in which the last breath of the dead body seems to be in the mouth, detaching itself from the body or abandoning it.