A framework three-dimensional cube sits at an angle so that one of its corners appears to protrude from the center of the piece. The cube is gray, with dark gray shading on the shadowed edges, and dark and light yellow shading on the lit edges. The canvas is cut to the dimensions of the cube.
Loving was intrigued by the history of perspective in painting and wanted to create a piece in which the vanishing point for the perspective is in front of the painted surface, toward the viewer, rather than within the surface. The result is a representation of depth that seems to protrude from the surface rather than creating the illusion of space inside the canvas.
White earthenware “sleeping” head lying on its right cheek (right ear omitted to lay flat) with a geometric section of crown removed. The cut at the head is painted terra cotta, the cut at the neck painted with a landscape of a tree at the edge of a cliff. A forest scene set against pink mountains covers the face, and desert rock formations in silhouette cover the back of the head.
Part of Lucero’s Dreamers series, the artist has cut away the top of the head to allow the dreamer's thoughts to spill out onto his face.
“The surface imagery of the Dreamers is crowded with personal icons from Lucero’s life, including...images of Northwest Coast totem poles recalling his years in Washington State, and the characteristically red earth and rugged landscapes of New Mexico where he spent childhood summers and has a home. While he was making the series, Lucero was not aware of the dream symbolism. However, looking back, he has realized that many of the craggy landscapes and shaped rocks and cliffs derived both from childhood associations, such as Camel Rock, which terrified him as a child, and from youthful nightmares.” (Mark Richard Leach, Barbara J. Bloemink and Lucy R. Lippard, Michael Lucero: sculpture 1976-1995, p. 53)