Kcho's "Untitled (Remos)" reconfigures the oar into a weaponized emblem of migratory torment. Two monumental cast bronze paddles rise vertically, their shafts brutally interrupted by sharp, thorn-like spikes that transform the tools of propulsion into instruments of self-inflicted suffering. One oar bristles with multiple aggressive barbs along its length, while the other bears a single piercing spike near its blade, evoking the physical and psychological wounds endured during the balsero crossings. Cast in bronze, these forms eternalize the precarious objects of escape, declaring that every desperate stroke toward freedom simultaneously lacerates the hand that grips it. The work unequivocally positions the oar as a scarred testament to the inherent violence of departure, where hope and injury are forged into the same unyielding form.