Innocenti’s Shark’s belly is an antechamber of a mixture of organic and inanimate things, resembling an hyper-dimension from the Arabian Nights. There are some images such as the fish in the water, and the organic 'cave-walls' that have the animal quality about them. In deep contrast, there are anchors and a ship inside animal creatuing an opposing effect. A unifying bond between the two extremes is that both seem to be in a state of decay: the ship is falling apark, the animals are being digested. This creates an image of un-life within the animal. The destructive and unnatural quality about the beast that devours nature and humanity alike without differentiating. If the wood that Pinocchio is made out of is humanity itself, the animal is the anti-humanity. Only through combinining these two opposing forces, can a new Pinocchio emerge: resolute and powerful.

The picture dares us to think that the monster which looks large from the outside is even bigger inside. When one looks at the illustration of the creature from the outside, it looks large and looming (accented by the uncanny perspective). However, the ratio of the size of the monster to the size of Pinocchio or a ship is nowhere near to how is it inside. The monster also has supernatural qualities. It’s stomach is a “4th Dimension” in which contact to the outside world and its laws of physics are completely abandoned. The picture, again typically, has the center of perpective (which also resembles an iconic reverse perspective) in its most important place: Gepetto’s table. The entire picture extends from Gepetto’s table (towards the observer who is placed like Pinocchio and also backwards towards the abyss), and the viewer is led to believe that they are also a part of the picture: mentally extanding the border of the shark’s belly to outside the frame into the third dimension.