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Indeed, Ficzek was clearly using light as an alternative to paint, an intangible and endlessly flexible variant of it, allowing him to structure, frame, collage and document at the same time; as a natural and logical result, the way he used light led him to the moving image. The animation features the figure, or more precisely the shape or outline, of a female dancer wildly moving herself out from her own shadow, swirling and flashing her own body into almost organic abstract patterns.
In his practice, he placed one of his focuses on the contexts of light and shadow, often working with projections and sprayed paintings, studying the changing plastic quality of geometric and organic shapes and varying light conditions in his compositions. Turning to animation in the 80, he then created lyrical, expressive montages and monochrome reliefs at the end of his career. Already at the beginning of his career as an artist in the late 1980s, Varnai was interested in making object art out of everyday objects and their components, and this predilection for quotidian object culture has not subsided to this day.