The piece operates as an “archaeology of the present,” probing the contradictions of a moment where destruction is omnipresent in the media yet remains buried in the political and social subconscious. It compels us to confront the paradoxical silence surrounding the technologies of violence and the inertia that sustains their existence. The totemic form is not merely an artifact; it becomes a witness—its charred surface speaking of histories both imagined and lived, its verticality a gesture of resistance and resilience.

In the speculative fiction the work evokes, the installation functions as a time capsule, a liminal space inhabited by nonhuman entities—perhaps creatures of metal, ash, or silicon—engaged in the quiet reconstruction of a new world. These beings, imagined as co-inhabitants of a ruined earth, seem to dismantle the binaries of destruction and creation, forging a narrative of symbiotic survival. Through this lens, Jarrín’s work becomes a meditation on the entanglement of species, environments, and technologies, gesturing toward an ethical reconstruction of futures that resist linear progression.