The monitor installation looped the early Copos sequences—raw, fast, insistent—projecting the first hundred, then hundreds more, until the street outside became part of the piece itself. Installed in Brighton and later in Madrid, the screens operated day and night, a continuous pulse of colour and repetition visible from the pavement. The work treated video not as a window but as a kind of urban respiration: a relentless visual rhythm that refused to turn off. Eventually the gallery window was broken, as if the intensity of the loop had pushed against the glass from within. The series has since grown to more than six hundred pieces, but these early loops carry the energy of a beginning that never fully stops.
