The installation brings together moving image and a material device central to the preparation of yuca brava. The sebucan—a tubular, handwoven tension apparatus used to press poison from cassava pulp—grounds the work in Indigenous Curripaco practices from the territory of Puerto Inírida. More than a tool, it embodies a sophisticated ecological knowledge system. Here, chemistry is not abstract science but lived transformation: a collective, time-based process of soaking, stretching, and releasing that converts toxicity into nourishment. Through tension and care, danger becomes sustenance, and technique becomes a form of intergenerational memory.

Echoing Lao Tse’s reminder that what is soft may erode the hard, the work approaches change as patient and relational. It proposes a hydro-cartographic logic—mapping through material processes rather than from a distant, extractive view. Cassava processing becomes a counter-gesture to domination, converting poison into sustenance through time and care.

In a landscape marked by mercury, dredging and rare-earth extraction, the installation considers how violence is metabolized across human and more-than-human bodies. Plant intelligence and inherited technique emerge as living technologies—modes of repair sustained across generations.