After starting his career with an object-related component and visual experiments in film medium, from the 1970's on, Luís Noronha da Costa followed a more systematic pictorial research on image and its representation (or the impossibility of its representation). In this way, he began to question the media and the perception processes of pictorial representation, showing interest in the idea of “screen” as an intermediate element between real and virtual space, between the object, its image and the spectator.The development of these researches materialized in paintings marked by the dilution of the image and the deliberate “blurring” of the elements, in a personal representation system that questions its own limits and activates the processes of memory and recognition. At the same time, the work of Noronha da Costa is marked by an incessant search for painting's own essence, where a dialogue with its historic evolution became fundamental, and from which resulted frequent appropriations of images from art history, photography or cinema.This work makes a thematic and composition quotation of “fino” nineteeth century painting, indicated by a still identifiable suggestion of figuration: an exterior scene in which several figures walk in a garden. The composition is marked by the ghost-like disintegration of the image. Although the figures are still (apparently) recognizable, the representation is given as a simulation that calls into question the reference body of painting as idea and mediation of an external reality. Presenting itself in a liminal space between physical existence and metaphysical dimension, this is an exemplary work of the poetics of Noronha da Costa.