This botijo deliberately departs from organic form to adopt a cubic geometry, a symbol of the artificial, the constructed, and the programmed.

Conceived from rectilinear volumes, its surface incorporates elements characteristic of contemporary technological language: microchips, resistors, cables, connectors, and electronic components embedded in the ceramic as if they were fossils of a new era. Technically, the piece combines manual modeling with the assembly of external elements, treated as structural parts of the object, along with a glazing that evokes motherboards, printed circuits, and data flows.

The cables act as visible nerves that connect the different “modules” of the botijo, suggesting an active, almost operational system.

From a symbolic and literary perspective, Central Unit of Creation represents the moment when human beings cease to observe nature and begin to replicate it.

If in other botijos life emerges from clay, water, or cosmic chance, here it arises from calculation, algorithms, and interconnection.

The botijo thus becomes a metaphor for artificial intelligence: a creation that does not stem from biology, but from human ingenuity, capable of processing, learning, and generating new realities.

It is a vessel that no longer cools water, but questions: What happens when creation creates? Where does matter end and consciousness begin? Is this central unit a reflection of our need to understand and reproduce the very act of creation?