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A walking cane rests upon a physical paradox: an object conceived to mitigate bodily frailty has been transformed into a lethal impact weapon. Alexander Chaves intervenes in turned wood, dark and worn by supposed use or the patina of time, embedding rows of sharp metallic spikes just above the tip ferrule. Arranged with the precise length of everyday orthopedic aid, the piece retains the curved handle and ribbed collar that facilitate a manual grip, yet shifts any notion of assistance toward explicit, archaic violence.

The visual tension of the object lies in its strict linear balance. Along its one-meter shaft, the wooden surface absorbs light in deep brownish and olive tones, revealing rough grain that simulates wear, dents, and age. In sharp contrast to that organic warmth, the conical steel spikes emerge with geometric coldness, catching sharp highlights that warn against physical proximity. This assembly makes no attempt to hide the scars of its construction; instead, it embraces the crude nature of an improvised weapon, echoing trench clubs or spiked bats from urban riots, executed with the formal precision of traditional woodworking.

Under the title Old School, the work triggers multiple readings on memory, discipline, and the passage of time. On one hand, it evokes the harshness of old punitive methods, where pedagogy and patriarchal authority were exercised through physical punishment and pain. On the other, it subverts the image of defenseless old age, endowing senescence with an unforgiving, almost street-hardened offensive capability. By merging an orthopedic support with a war club, Chaves strips the domestic object of its innocence, confronting the viewer with an unsettling relic: a tool that no longer steadies a stride, but commands respect through force.