The artwork as an entity to be given time to and in reverse, a greedy object forcefully seducing the observer to delay modern rapidity and replace it with primitive evaluation based on curiosity, is explored under the context of painting, sculpture and film. Here, layering plays a totalitarian role; context layering, figurative, abstract, subjective or chemical. What are the methodologies at hand, with which we can slow down superficial viewing and observatory processes imposed by a rapidly moving digital world?