Dagoberto Rodríguez's "Santa Barbara" reimagines the syncretic orisha Changó—manifest as the Catholic Saint Barbara—through a watercolor depiction of the figure constructed entirely from interlocking, multicolored bricks, her red cloak, golden tunic, tower crown, chalice, and sword all rendered as modular, pixelated forms standing beside a crenellated brick tower on a verdant base. This precise brick composition asserts that spiritual icons are not transcendent essences but deliberate architectures assembled from the fragmented materials of history, colonialism, and cultural fusion. Conceptually, the work positions Santa Barbara as the ultimate edifice of Cuban syncretism: her built body declares that faith and identity are engineered layer by layer from the raw blocks of resilience and adaptation, where the saint's protective thunder emerges directly from the constructed vulnerability of the human condition.