An old factory of wheat processing _ the Mill _ became a dwelling for homeless people, a point of delinquents and prostitutes. Here, the communion scene gives place to the traffic show. In this the production of the food essentially linked to life, Eliane Prolik raises a sculptural staging of a death ritual. There are several lead beds, on which lay portions of bread dough. As organic matter, bread presents viscosity, fermentation, growth, solidification and finally disintegration into dust, which bestow it of deep significance. In the Christian imaginary, bread is body. Lead, by its side, is dense, muting. Its amorphous condition witnesses the muting of light, silence, the absence of life. These lead blankets, covered by bread dough, create a situation of extreme tension, the drama of the confrontation between organic matter as a body, and that to which it aspires. The despaired resistance of life before the overpowering and implacable death. In these death beds, bread goes through an agonizing and rotting process, an archaic symbol of the cycle that leads to decadence. Contrasting materials, conflicting situations, disorder and harmony, create a baroque poetic configuration. The architectural and sculptural group that, in the 18th century, was used to represent the epic of wealth and the dramas of human perdition. These livid beds, reassuming the procedures of that tradition, question the Brazilian sculptural production. Here, complexity, saturation and tension _ typical of the very intervention spots _ are brought to art's territory. The silent weight of the gray lead blankets, on the pale and fragile masses of bread, invest poetically and aesthetically these scenes of oppression and pain.