Attention to detail is evident through-out. In the first piece, the contrast of Ines Pasic's bare hand with the white gloved hand of the roue, was necessary. Hugo's hand, through the cuff of Ginocchio's shirt became Ginocchio's, but when he decided to steal Ginocchio's tips, he removed his hand from the cuff and then picked up the hat. I suggested that ruthless editing was one of the factors that contributed to the style of Hugo and Ines. Each piece was all it had to be, no more-no less.
Any good artist knows when to stop.
Hugo and Ines have the power to move us to tears. In a touching depiction of the ravages of time, we witness the loss of youth, infirmities of old age, and the final moment of a man's life. When our once vital young man surrenders to the inevitable, he reaches up and removes his blue eyes and holds them in his hand as he might hold a pair of dice. In that instant, he is transformed, and we witness his rapid decline. Toothless, blind, barely able to stand, using his cane for support, he finally slumps into a pile on the floor.