Two bulls stand on the roof ridge beside a cross. They are thrown from reddish Pupuja clay, coated in a white slip cut with antimony and silver scoria, incised with spirals and flowers, and fired twenty-four hours over dung until a honey glaze pools in every cut line.

This system takes the fired body as its ground: warm terracotta under amber glaze, slip-white panels floating on it, walnut incision doing the work that hairlines do elsewhere. Nothing sits alone — the altiplano composes in pairs, and so does this.