Xicalcoliuhqui-inspired geometries—a stepped, spiraling motif rooted in Mesoamerican design—anchor cast aluminum Mexican hand tree flowers and a da suspended Nymphalis antiopa chrysalis. Its silvery surface shifts subtly, shaped by a foundry process akin to lost-wax casting.
The suspended chrysalis becomes a metaphor for transformation and potential, embodying the liminal space between life and death. The work reflects on how nature is abstracted, ritualized, and reshaped—where beauty becomes a mirror of desire, and likeness a fragile imprint of power, preservation, and control.