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A dense cylinder of galvanized barbed wire supports, atop one of its upright prongs, the weightless roundness of a black balloon. The confrontation between both elements is absolute and grants no respite: the jagged steel, engineered to wound, demarcate, and contain, serves here as a pedestal for a latex membrane whose sole physical certainty should be immediate rupture.

This lethal proximity establishes a rigorous vertical axis where the actual weight of the metal counters the aerial suspension of the rubber. At the base, concentric coils accumulate shadows and cold glints, forming a hostile, oxidizable weave that anchors the piece to the ground with mineral force. Above it, the opaque balloon absorbs light with a matte finish, tracing an almost geometric silhouette that seems to hover through a minimal, millimeter-wide point of contact that defies the common-sense laws of sculpture.

Everything in the structure rests on imminence. We are not witnessing an accomplished destruction or a detached metaphor for fragility, but rather the exact second preceding disaster, frozen in an impossible equilibrium. The sharp, silvery roughness of the industrial spool contrasts with the dark, elastic, vulnerable skin of the sphere, compelling the viewer to experience immediate physical tension in the face of an impending puncture.

Under the title Supertición, the object takes on the weight of an omen paused in time. Belief in bad omens lives precisely in that anxious waiting, in the conviction that harm is already decreed even if catastrophe has not yet made a sound. The balloon remains intact not because the barbed wire has lost its edge, but because the artwork chooses to inhabit, with disturbing precision, the threshold of what is about to shatter.