Suproportion, following the painting experiment Caravaggio, is the earliest documented artwork of Federico Díaz which starts playing the thinking which has been evident in Díaz’s creative style until now. The similarity to the art of Díaz’s mentor Karel Malich associates precisely constructed geometric space system and transpositions between the figurative and abstract on the basis of one work of art. Díaz uses bamboo splinters for the material realisation while Malich uses wires. His primary concern is based on the individual, his relation to the environment and it is composed through the bond of mutual proportional closeness and connection. Humane and social dimensions in general meet in the position of the central existential point, the human mind, which is not only the bearer of rationality for Díaz but also a bearer of emotions.