We can observe a strange scenario; from a distance, we understand it as a kind of base, a dark, hypnotic yet magical cavity. We enter a comparison chamber, suggesting an unknown setting.

Reflective walls prevent us from focusing our gaze, and at our feet, we sense the effect of small and infinite grains of coal. The walls are saturated with it, displaying diamond iridescence that disappears upon approach. Coal accumulations, like thorns, and fossilized plant trunks offer us an enveloping and apocalyptic space from which we cannot escape. On one of its walls, we can peer through a narrow tunnel, and in the background, the digital image of the Sierra Nevada. It allows us to feel a blowing air flow accompanying it—an ideally natural but virtual scenario, desired yet unattainable. This is the aesthetic proposition for observing a controversy, an objection, a global phenomenon that persists, expands, and preys on the surface through exploration mechanisms that release black bursts of contamination into the air.