In fact, they perform a discontinuity inside the regime of identity. The mirror produces the illusion of seeing yourself as your own image. But Tinojay silhouettes involve a radical and silent displacement inside this relationship. They force you to see your own image, not only as your own verification, but as the proof of the other. An unknown hand from outside collapsed into a drawing which inscribes a shape-image of the Occident, the colonial ship. The image of the visitors, which seems to cancel the existence of aborigines, is at the same time the evidence that proves them. The engraved silhouettes are double; their lines are strange to the shape they are registering. They register a double identity.
But, apart from this, simultaneously, they collapse an anomalous instant. Any of them is the edge where two strange chronologies collide. They define the beginning of a double mismatched colonial chronology where instants are not simple, but double: double instants too, made of a hidden constant instant behind the apparent unique one. The chronological and cartographic definition displaces till duplicity. The sun at 25th of September —the official day of the conquest of the island, understood as its placement into the colonial modern system— is a double sun; the nautical stars appear geminated. Desert island escapes —the island could be understood as a continuiation of the Sahara desert in the middle of the ocean— are the set of this generalized duplication, of this strange double hallucination; they are the instance where the time and space doubleness realizes a double —multiple— memory.