All ten artworks are of acrylic, on uniform 36” by 36” unframed box canvases. Each of which depicts either a surreal scene or story, like in Sniffing for the Supremacy of Pure Artistic Feeling and Long Term dusk Glimpses, or out-of-this-world organisms, or as Estiler describes it, twisted biomorphic figures, like in Chariots of the Fog and Saṃsāra Phantasma. The paintings are spread far apart over a rectangular white room, spotlights on each, and no titles on all. The arrangement of the paintings are of the artist’s discretion according to MO_Spaces.

Going further into the artworks, a recurring figure is their depiction of a morphed human with contorted bodies in humorous proportion, wrinkles that appear like textures, and exaggerated facial features in a myriad of psychedelic colors. The scenes are often completed with objects ranging from recognizable shoes to cosmic structures like varicolored and weirdly-shaped houses (In Dead Moon) or volcanoes (in Cosmic Shores); and animals that also exhibit the same exaggeration, like the snake (in It’s Just a Burning Memory) with a boxy body or the garish cat (in Odd Heavenly Beings) - all in a surrealist and cartoonish stylization. The backgrounds often steer clear of heavy texture, opting for solid pastel colors with slight gradient. Another feature I noticed is the way the edges are unretouched with drippings from objects and seemingly detached from the background; which is noticeably added much later compared to the images in foreground. Cordero and Ching delivers on the oddities of the bat soup, yet instead of round bowls with floating carcasses, we see it in these square canvases featuring more than bats, surreal figures direct from the painter's collaborative connection in imagination.