With Soleil Double, Grasso develops one of the founding concepts of his work: the real is twofold. To see the truth, we must look for its mysterious side. Drawing on his personal reading of Michel Foucault, Grasso transforms objects into subjects in an almost cinematic scenario. Each work functions as a block of reality identified in the collective unconscious and is made strange by subtle alterations. The confrontation of this common reality with deliberately staged anachronisms creates a zone of instability where the mind can wander in time. The encounter with these manipulated objects thus gives rise to a feeling of general uncertainty, something almost magical.