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The standard number two school pencil appears here stripped of its intimate scale and multiplied into a tangle of tensions. At nearly three meters in length, each hexagonal body abandons the manual scale of the desk to become a monumental, heavy, and unmanageable object. Arranged in disarray, crisscrossing like in a suspended game of pick-up sticks, the instruments lose their status as tools subordinated to the hand and claim the physical space with an almost architectural presence.

That alteration of scale dialogues directly with the violence exerted upon their geometry. The wood, enameled in classic pedagogical yellow and capped with dark ferrules and salmon-toned erasers, retains the pristine finish of a factory-made product; nevertheless, several of these shafts appear drastically bent or fractured at impossible angles. The graphite and sharpened wood at the tips do not signal the act of writing, but rather a violated rigidity: the straight prism, an emblem of discipline and measured line, yields to a force that deforms it without completely shattering it. Matter thus exhibits a clean fracture, a torsion that defies the woody nature of the everyday object.

Under the title of the proposal, the disjointed accumulation opens acute readings on the mechanisms of institutional normalization. The conventional formative system tends to demand alignment, straightness, and standardized answers; confronting that inflexible mold, these bent pencils seem to embody the experience of the individual who does not fit the norm or who is forced to adapt to the point of rupture. Outside the apparent innocence of school supplies, this chaotic pile renders visible the fatigue of disciplinary structures, confronting the gaze with the fragility of any framework that attempts to channel thought under a single parameter of correctness.