A silent offering where stone and water converge, MATLA reveals itself as both object and symbol.

An offering shaped in stone, where water becomes presence and memory.
MATLA reimagines the figure of Matlalcueye, also known as Chalchiuhtlicue, consort of Tlaloc, goddess of water,  through an abstract interpretation of pre-Hispanic sculpture.

Its form emerges from the subtle study of ancestral symbols: the circularity of earrings, the rhythm of ornament, and the embodiment of feminine strength. These elements, distilled into pure geometry, dissolve references into a silent sculptural presence.

Neither purely object nor solely symbol, MATLA manifests as a basin that transforms utility into ritual —a vessel where stone and water converge, and the boundary between function and contemplation disappears.

A vessel carved in stone, TLAL invokes the unseen presence of Tláloc, deity of rain and chaos, fertility and renewal. Its form, born from the abstraction of ancient sculptural gestures, becomes a fragment of myth suspended in matter.

TLAL is not revealed at once; it lingers as a silent offering, a fountain where shadow, stone, and water converge into mystery an echo of ancestral memory that still resonates today.

Here, water flows not simply as element, but as force a current that unsettles and restores, echoing the sacred duality of Tláloc. Each drop traces a ritual path, dissolving the boundary between destruction and creation, the earthly and the divine.