Placing the camera on the body of the pigeon to record the scene from the sky, Sapu Angin presents an experimental language through deformalized visual. It conceptually combines the two type of imagery-forms: the first, the one non-structural and unpredictable in perceptual senses (because the image capture was left entirely to the trajectory of the fluttering of the bird’s wings), and the second, the visual form that is measurable in anatomical logics—the constant motion of the pigeon’s wings have been scientifically proved to have a certain pattern.The production based on the combination of such contradictory conceptions, in fact, draws a critical reflection of technological development of contemporary recording devices, in which the combination of action-cams, mobile apps, and unmanned aerial vehicles commercially emerge to meet our imagination of the sophisticated moving images.