Kcho's "Untitled" bronze sculpture reconfigures boat oars as harbingers of migratory peril and existential rupture, where the wooden shafts—emblematic of propulsion across treacherous waters during Cuba's balsero exodus—are impaled by oversized thorns or nails, evoking a crown of suffering that transmutes utilitarian objects into instruments of torment and memorial. This piercing intervention disrupts the oar's fluid functionality, symbolizing the violent interruptions of displacement, state-imposed isolation, and the corporeal toll of seeking refuge, while the bronze medium eternalizes ephemeral desperation into a monumental critique of borders as both physical barriers and psychological wounds. Conceptually, the work navigates the interstices of hope and hazard, positing migration as an alchemical ordeal wherein the promise of mobility yields to the thorns of historical trauma, inviting contemplation on the archipelago's fragmented identities and the enduring specter of exile amid geopolitical currents.