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A vegetal dome or monumental parasol dominates the upper third of the canvas, heavy and symmetrical, sheltering a ghostly assembly beneath its radius. Within this floating core, equine profiles turn or gather (white, ethereal figures flanking a fiery torso rendered in vermilion and ochre tones), fashioning a sort of silent carousel stranded in the middle of nowhere. Beneath this entire fantastical architecture, at the lower boundary over abyssal blue waters, rests a horizontal human figure, reclining inside a small boat.

This tension between the weightlessness of the upper structure and the motionless rest of the vessel below shapes the composition. Fernández contrasts the earthly stillness of the sleeper with the contained agitation of the horses, which seem to spring directly from the nocturnal imagination of the one resting at the base. The vertical axis organizes the scene with rigor, yet the transitions between water, vegetation, and air dissolve through transparencies that make it impossible to determine where the liquid surface ends and the cerulean sky begins.

The pictorial matter functions here as a light filter: rubbed, thin layers allow the ground to breathe, granting the blues a cool vibration, while touches of vermilion, sienna yellow, and chalk white on the figures concentrate visual energy. Two small crests or birds crown the upper dome, adding a subtle vertical pull that balances the severe horizontality of the canoe.

Read through its aquatic and nocturnal atmosphere, the canvas suggests a passage between waking life and reverie. The sleeper neither sinks nor navigates toward an obvious destination; he remains anchored to that apparatus of memories or visions hovering above his head, transforming the scene into a lyrical monument to the mind's vulnerability once the eyes are closed.