Gelabert Soto's Pistilos series repurposes a botanical motif—the flower's pistil—into a stark confrontation between raw material and industrial byproduct. The piece consists of a tapered wooden shaft, roughly hewn with visible knots and a drilled orifice near the tip, anchored by a lumpy extrusion of expanding foam that mimics swollen tissue or accumulated residue.

 This material dissonance, characteristic of his post-minimalist leanings and arte povera influences, probes human encroachment on natural forms, prefiguring his later simulations of urban decay and waste in works like Huellas (2011). Rooted in his Cuban origins and New York exile, the sculpture dissects themes of hybridity and obsolescence, where organic remnants yield to synthetic overgrowth, reflecting broader critiques of consumption, fragmentation, and ecological fallout without romanticizing the interplay.