It is entirely digital, from design to print, the creative process of the work by the surrealist artist Ray Caesar , who, starting from the design of three-dimensional models primarily through the use of software, and equipping every structure created a invisible skeleton, which allows to determine the pose and position in space, the plays in a second time with different photographic textures, finally adding to the figures obtained shadows and reflections by means of a light beam digital. Undeniably in his works we see representations that lead to recurring symbols of cinema and painting surrealist, such as ants "L'Age d'Or" of Buñuel, the clocks of De Chirico and Dali, the bones of the "Fishbone Forest" Ernst, scissors "to compose a poem Dadaist" we take references to alchemy, which, even for a contemporary artist, "now devoid of any scientific reliability or rhetorical solemnity, it will preserve the charm of a mythic paradigm" (Calvesi ): glass jars containing liquid, the birds to represent the "sublimation" of the matter, the androgyne and the storm that allude to the process of joining of opposites, we find also the numbers 1 2 3 4, ie the Tetraktys, Pythagorean symbol containing the active nature always fluent and work "Companion", the kite, which is reminiscent of "Der Hirschkaefer" by Albrecht Dürer. Indeed, Ray Caesar claims to be fascinated by the idea that the original of each of his works can exist almost physically inside the computer in a three dimensional world composed of depth, length and width, and that this space, even when the computer is off , continues to exist according to a "mathematical probability", the same that animates the "Platonism" or "Pythagoreanism" of Galileo Galilei and that we find in the words of the scientist on Nature: "this great book which stands continually open before our eyes (. ..) is written in mathematical language. " While considering that currently, through the development of new information technologies and communication, we start to exchange the virtuality with reality, and that the aim of the latter is not the reality check, but its absorption (Baudrillard), and reflecting on the fact that cyberspace appears as the "Platonism made," as those who sail in it "leaves the prison of the body to emerge in a world of ideal forms" (Heim), we share strongly the idea of ​​Maldonado which provides for the opportunity to move away from virtual reality, coming to contain "any adverse effects that it could arrecarci. (…) A similar picture is, in fact, to undermine the idea, now so celebrated by the media, that we are on the threshold of a new virtual world from top to bottom. A world that becomes a sort of virtual reality on a planetary scale, sealed a cage from which none of us, at any time, can not escape. "