Marta María Pérez's "Caminos" interrogates the liminal thresholds of mobility and entrapment within Afro-Cuban spiritual cosmologies, depicting a pair of human legs truncated at the knees and fused into a primordial mound of textured mud, from which protrude ritualistic accretions—a feather piercing the cleft like a talismanic arrow, cowry shells evoking oracular eyes, and diminutive figures suggesting ancestral guardians—transforming the body into a rooted axis mundi that symbolizes the obstructed pathways of existence amid colonial legacies and personal odysseys. Through the silver gelatin print's ethereal chiaroscuro, the composition disrupts anthropocentric agency, positing the lower limbs as conduits for Elegguá's dominion over crossroads, where forward momentum yields to earthen anchorage, probing the dialectic between aspirational journeys and the inexorable pull of cultural memory. This conceptual framework extends to motifs of hybrid embodiment, challenging the viewer to navigate the precarious balance between liberation's promise and the sedimentary weight of historical binds, where paths converge not in progression but in sacred stasis.