Federico Lombardo chooses the subject of his portraits basically according to his sensitivity, through a careful research of an idea of beauty that is absolute and transcendent, coming to an obsessive suspension of the characters it portrays: divine creatures positioned at the edge of a dimension that the viewer does not perceive immediately. The look of his characters punches a 'hole' in the viewer's perception breaking the mirror of Derrida. The choice of the half-length stems from Roman sculpture, the dark background behind these suspended creatures, refers to the Italian Quattrocento and soft lighting, to Rembrandt. It is the support, however, that breaks with tradition. Federico Lombardo calls into question an entire system, because although it works with his own hand, walking with his hand, to resume precisely Derrida, he painted not on canvas but on a tablet through a computer screen, using color and digital brushes, printing then the image as if it was a photograph. It is not so impossible that one day his portraits remain suspended within an ultra-flat screen. What is finally the relationship between the human and the digital in Federico Lombardo?The connection between these two dimensions is in the drawing. He does not abandon the drawing, as even the perception of color. In the portraits of Federico Lombardo human images flow imperceptibly into the imitations of human beings: among the many androgynous figures, we could, of course, reveal an android self-portrait.