This work is situated within a line of inquiry that articulates contemporary art and design through a critical reexamination of Mesoamerican symbolic systems. Its point of departure is the concept of the Smoking Mirror associated with Tezcatlipoca, understood not as a mythological gure to be illustrated, but as a conceptual principle linked to vision, opacity, and confrontation with instability. The mirror, rather than oering a clear reection, fragments and obscures perception, activating a space of ambiguity and critical reection. The incorporation of the stepped fret (greca escalonada) from Mitla, Oaxaca, responds to its structural role within Mesoamerican architectural and ritual thought. Far from functioning as an ornamental motif, the greca operates as a system of visual order associated with transition, continuity, and the articulation of symbolic space. In the work, its modular repetition organizes the formal eld and delineates a central void that functions as a site of tension and concentration. From a material perspective, the piece brings together industrial elements and ancestral symbolic references, situating itself in a hybrid territory between sculptural object and design object. This condition reects a practice oriented toward the creation and materialization of ritual and utilitarian objects, in which function does not negate symbolic meaning but activates it. The work does not seek archaeological restitution or a closed historical narrative, but rather a contemporary reconguration of the sacred motif. In this sense, the piece proposes a recovery of the ritual dimension within contemporary art as a material and critical experience. By translating these symbolic systems into a current formal language, the artist constructs a device that invites a reconsideration of the relationship between form, use, and meaning, reinserting the sacred as an active category within contemporary art and design practices.
