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The hull of a rustic vessel rests far from any aquatic element, transformed into a container for remains that resemble relics salvaged from a shipwreck or an excavation. The curved profile of the timber, resolved with the concision of a river canoe, breaks near the bow through small, irregular perforations that let light pass like scars or bullet impacts, while the dark wood of the exterior retains a heavy, mineral density.

Inside the boat, divided by two orthogonal crossbeams, lies an amorphous, pale cargo. These organic fragments with edges weathered by water or time resemble vertebrae, river stones, or driftwood, directly contrasting with the geometric severity of the shell. A grazing light reveals a palette of ivory, dry ochre, and sand across their surfaces, concentrating the visual weight at the bottom of the craft and granting it the aura of a collective reliquary.

The title ties the work to the historical memory of the San Juan River and the nineteenth-century Central American conflict, yet the true scale of the piece (a two-meter length that commands a resolute physical presence on the gallery floor) transcends mere commemorative reference. This is no functional replica, but a symbolic bier where the journey has been arrested. The tension between the hollow volume of the boat and the fragmented density it carries suggests an unending crossing, a halted transit whose cargo is the fossilized witness of forgotten bodies and passages.