Automobile has become the fetish product of industrial society. Car circulation organizes the suburban space. The substitution of streets for belts and expressways in urban concentrations, according to efficiency, splits the peripheries of the metropolises where the inhabitants receive more social pressure and consequent outbreaks of social violence are exercised the most.
The car embodies the extension of private property and the comfort that separates and protects from others. It is the instrument that socializes the apparent integration of popular classes in the economic circuit of global consumption and offers illusion of freedom of movement. Paradoxically, the vehicle reveals radical protest, the immolation of the machine, the fiery power of its extinction and the overflowing message of fury that has lost the ability to identify with canonical class references.

The mural arrangement, on shelves at various heights, of a collection of drawings with car scenes –which burn for various causes and in different contexts– generates a contemporary polyptych where fire reincarnates mystical power of purification and the extinction of what corrupts.
The proposal of a set of iconoclastic images shows in its physical materiality – the drawing with chiaroscuro techniques and with graphite powder – the apocalyptic power in the sense of revelation, not of the end of days.