Federico Miró's work is characterized by the aesthetic influence of the Baroque and Renaissance, canvases dominated by horror vacui enhanced by ornamental and vegetal elements. In The invisible thread, Federico Miró tries to synthesize the image by reducing the color palette and focusing on specific ranges. An exercise of synthesis that gives continuity to the work of recent years where the pictorial is enhanced. At first glance, the works that make up The invisible thread are presented as monochromatic, however, when the gaze stops long enough, figures and natural forms begin to be discovered. It is nothing more than the artist's desire to emphasize the material presence of the object within the search for the spiritual, from the contemplative experience. Federico Miró has looked back and has been influenced by artists such as Rothko, whose use of large formats that make the viewer feel involved and immersed in a mystical experience; the particular obsessive use of blue by Yves Klein or the color theory of Josef Albers to materialize this new series. Likewise, he has also been influenced by Utagawa Hiroshige, one of the main exponents of Japanese landscape painting in the 18th century. He has especially focused on his famous ukiyo-e series on the views of Mount Fuji and Edo (present-day Tokyo), characterized by their vertical format and subtle control of chromaticism, from which he tries to borrow that oriental atmosphere based on contemplation.