Dagoberto Rodríguez's "Cachita" reimagines La Virgen de la Caridad del Cobre—Cuba's patron saint and syncretic manifestation of the orisha Oshun—as a monumental figure constructed entirely from interlocking multicolored bricks in watercolor on paper, her flowing golden robes, starry halo, crown, scepter, and child Jesus all rendered as modular, pixelated forms standing upon a pedestal adorned with the Cuban coat of arms and flanked by a small tower. This brick-built composition asserts that national and spiritual icons are not divine essences but deliberate assemblages forged from the fragmented blocks of history, migration, and cultural synthesis. Conceptually, the work positions Cachita as the ultimate edifice of Cuban identity: her constructed body declares that faith, protection, and belonging are engineered layer by layer from the raw materials of resilience and adaptation, where the virgin's maternal grace emerges directly from the precarious, human-made architecture of a nation perpetually under reconstruction.