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A dense, white dome asserts itself in the center of the space, defying gravity altogether. Jorge Rojas Alfaro builds a semicircular canopy that does not take root in visible soil, but rather levitates above a flat horizon, modeled with a thick substance that projects from the canvas like a calcareous bas-relief. Each protrusion within this vegetal mass suggests minute limbs, intertwined figures, or sea corals that capture raking light, casting tiny shadows that endow the foliage with an unceasing organic pulse.

The scene is governed by a limpid cerulean blue that strips the landscape of concrete geographical coordinates. Two small floating frames flank the canopy in the upper quadrants: to the left, a circular sun etched with internal spirals; to the right, a crescent moon inscribed with the same ritual thoroughness. This tripartite arrangement, grounded at the base by a horizontal band of white crests crowned with a wave-pattern frieze, organizes the surface with the ceremonial rigor of a cosmic altarpiece where day and night coexist in simultaneous repose.

The material contrast defines the canvas's fundamental tension. While the sky resolves into subtle, pristine tonal transitions, both the mass of the tree and the lower terrain exhibit a voluptuous, almost sculptural impasto that calls for touch. That disparity between the ethereal atmosphere and the physical crust intensifies the totemic presence of the central figure, whose broad silhouette recalls the generosity of the great tropical canopy trees.

Abuela Vida thus manifests as an emblem of permanence and origin, a totem in which the vegetal figure transcends botany to embody the womb of all living things. The solemn stillness of its elements turns the canvas into a devotional architecture, suspended in a mythical temporality where sky, earth, and ancestral memory find an exact point of balance.