P.R. II is the second attempt to abstract the formal aspects that the Rosetta Stone possesses. My interest in the original piece lies in its symbolic and linguistic nuances. On the one hand, the stone is a text in itself, a set of translations that helped decode the symbolic language of the hieroglyphs. I am interested in such an event in relation to the linguistic relativism formulated in the Sapir-Whorf theory, which holds that a particular language can intervene in the way reality is perceived. On the other hand, the stone has become a historical symbol, a tourist attraction, a fact generated through the incorporation of cultural and political meanings exercised by successive societies to the stone itself.

In this case, I have used enamel on wood, creating a kind of scenographic element. On one side, the image is represented; on the other, the structure, the attempt of a table to become the representation of a stone.