Florencio Gelabert Soto’s “Tools” asserts the austere power of necessity through a towering vertical assemblage of weathered, fractured timber bound and pierced by steel rods. The elongated sculpture rises nearly five feet as a single tense form, its deeply split and eroded wooden shafts forcibly reunited and stabilized by cold metal pins that penetrate and hold the raw, cracked surfaces with visible coercion. Created in 1994 at the height of Cuba’s Special Period, the work transforms scavenged driftwood into an object that blurs the boundary between primitive implement, weapon, and ritual staff. Conceptually, it declares that in conditions of extreme scarcity, every functional object is born from rupture and reconstruction: resilience is achieved not through wholeness but through the deliberate, often violent act of binding what has been broken, turning limitation into the very instrument of endurance and survival.