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A glowing, saturated, and granular yellow sky bears the weight of an electrical network that spans the upper portion in dark, sagging lines. In the upper right corner, a flat, stark white sun breaks through without gradation across a lighter vertical stripe, projecting an unyielding light that conceals nothing. This solar firmament is not merely an atmospheric backdrop; it acts as a sounding board for the coastal settlement gathered at its base.

The cluster of houses on the left margin concentrates the graphic energy of the print. Rendered in a restless, broken black line, the dwellings reveal roofs and walls in plant green, vermilion red, deep blue, and lime white. Their simple volumes stack with the inherent logic of vernacular architecture, crowned by makeshift television antennas and weathered timbers. The screenprint exploits the direct contrast of flat inks against stippled surfaces, lending an almost tactile roughness to the zinc and wooden materials.

In counterpoint to the clustered dwellings, a strip of cobalt blue carves its way toward the right. The water, defined by clean edges and forceful chromaticism, serves as an anchorage for a modest fleet of fishing boats. These white vessels, outlined in black ink and beached between the water and the stony shore, introduce a measured cadence of diagonals and resting curves. In the foreground, a solitary skiff rests on a shoreline rendered through dense grayish stippling flecked with glints of ochre and red.

Barrio El Carmen turns a humble harbor nook into a visual structure of remarkable solidity. The wires that tighten the air and the huddled shacks do not function as a plaintive grievance, but as a testament to an inhabited, resilient, and luminous space where daily existence is suspended between the weight of the sun and the calm of the sea.