In an attempt to recreate the machinations of the current world that works so hard in function of death, the kinetic fountaine sculpture brings a serene, fluid sound and resignifies the aggressiveness and destructive power of the mining shovels , granting it a new sense and relocating its functionality. Here, in this new world, the machine works in function of the cycle of life that returns to it and never repeats itself. Each drawing of falling water and the sound of dripping drops is a unique event in the time and space that shelter it. 

In "Machine of the world", 1951, considered most important Brazilian poem of all time, Carlos Drummond de Andrade wrote: 

 

"(...)to soak in the angry sleep of minerals deep;

what will turn round the world until again

is engulfed in the wholesome, all too plain

geometrical order of all things(…)"

 

In direct allusion to the writer who has experienced the daily landscapes permeated by mineral extraction, the work brings mining shovels, great symbols of destruction, back to their natural sleep, engulfed in the waters that once, in forms of rivers, used to refresh them. 

Without leaving the industrial character, the work makes evident all the tools that compose it, as much aesthetically as symbolically, it exposes the solutions and processes for the machine to work. 

The blades that act paradoxically as tools for extracting the very material they are made of, are here arranged in the form of a fountain. In colonial gardens and parks, fountains are historically objects of power, the materialization of European opulence. 

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