The works from this series are done in an indigenous embroidery method known as a Nierika, coming from the Huichole community, who would use them as ritual artifacts to translate their visions to the community by covering a board in beeswax and pressing yarn into the panel to create an image.
In Rico’s use of this method he transforms his own dreams, from his drawings and sculptural objects to a two dimensional image pressed in yarn. In this work, we see two distinct images: a cactus composed out of red sausages and a single gold coin. On the right there is a cartoon-ish campfire.
The forms are commonly found in the desert, and relate directly to Rico's childhood when he regularly explored the mountains, finding himself in places where cacti were the best visual references for him to remember his way back. These images are a depiction of the heuristic process which developed from the artist’s encounters with these cacti, as well as a way to visualize a new figurative etymology for these forms.
In this work, Rico imagines the cactus as a replacement for the human body, swapping certain growths with sausages to create new appendages. He also incorporates the basic desires or dangers of contemporary humanity such as wealth and greed which are represented by gold coins, and the disappearing culture of spirituality and its relationship to animals and the environment, which are embodied by the sausage-shaped arms.
The fire is part of Rico's ongoing study of the philosopher Heraclitus, who viewed fire as the essential material uniting all things in the universe. Rico applies Heraclitie's order of the elements to many works across his practice, referencing a deep affinity for nature.