The work addresses a hybridism or deterritorialization of the contemporary image. The digital video slowly transforms into another type of image, painting. At the same time, the painting functions as a memory of movement, a trace left by the performance, addressing a temporal issue. The present or the immediate is strongly associated with performance art. On the other hand, the image, especially video, is also strongly associated with performance, including as a recording instrument, through which the “moment” survives. The image “hijacks” the present, not only the video that in the work “hijacks” the moment of the performance, but also the paint that functions as a record of the movements. Inspired by the works of Jackson Pollock (1912-1956), who combined painting (ancient art) and performance (contemporary art), the work inverts the timeline of the evolution of the image, placing the static image, painting, as the “final product” to occupy the screen. In addition, the painting also undergoes a physical displacement, since it is displayed on a screen designated for video playback. By blending the two types of image, “Transforming screen into screen” aims to highlight an unexpected affinity between the static image and the moving image.