This series reflects on the technological object as archive, narrative, and vestige. Through the recreation of obsolete digital devices—old mobile phones, outdated screens, reprogrammed software, and useless/unused circuits—the works evoke a recent past, rescuing fragments of discarded technologies. In this gesture, the residual and the ephemeral become poetic material, giving rise to an archaeology of the digital.

Each piece presents a critique of the accelerated cycle of consumption and technological obsolescence, where the new replaces the old without allowing for mourning or remembrance. It proposes a contemplative pause in the face of the systematic forgetting of what was once innovative. Now-useless devices are elevated here to the status of “artistic and cultural icons,” preserved as electronic vestiges of a future that has passed.

The screens don't display efficiency or clarity, but rather visual errors, glitches, altered games, and random programming. Code, normally associated with control and precision, is reconfigured as an artistic, aesthetic, abstract gesture, one that arises from failure and chance. Unpredictable behaviors are observed: fragmented images, erratic movements, loops with no apparent purpose. Error ceases to be a problem and becomes a visual language.

In addition to digital and electronic elements, the artists incorporate physical materials from the technology industry itself through painting and printmaking. Minerals such as silicon, copper, and aluminum—key in the manufacture of chips, circuits, and structures—are used as pigments, compositional elements, and textures in the paintings. Thus, what was once technological infrastructure reappears as pictorial matter, connecting the pieces to the mining that underpins the digital world.