This work emerges as a territory of cultural, symbolic, and historical meanings. The first stage involves selecting iconic images, specifically “The Garden of Earthly Delights” by Hieronymus Bosch (1490-1500), intervened with soil from the Upper Orinoco, a conflict-ridden area between the Yanomami and the garimpeiros over illegal mining.

In the second stage, the action is photographically documented, juxtaposing the soil, a symbol of fertility and the feminine universe, over the image, allegorizing the fertilization of the original painting’s moral values, reflecting the painter’s religious intentions.

The third stage is a large-scale performance, where the action of sifting and drawing with soil is amplified and recorded in real-time with an overhead camera, projecting the constantly changing image onto a wall within a closed circuit. This dynamic projection invites the viewer to reflect on the contemporary and timeless meanings embodied by the work.