In Nodal, the composition is radically based on the idea of shifting volume that transforms itself gradually, and in so doing adjusting the body as if it carried within itself the memory of a rock. From this point on, Cindy van Acker looked for a way in which to place the body language there where the movement can go from abstraction to realism. The movement then places itself on a tipping point where it can keep its own quality, while nevertheless gaining access to a different tone.